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Upload: 8 June 2009
Art added 2 April 2015
Rain Island movie serial:
The Adventures of Rocket Rat
Series 1: “THE MINES OF THE MOON”
Chapter 1: “A CRY FOR HELP”
SCREENPLAY BY WALTER D. REIMER
Lt. Jack Carr, Capt. Rod Stone (Rocket Rat), & Dr. Jane Red Deer
(click here for larger image) - Art by Rusty Haller - http://www.aceandqueenie.com/
The Adventures of Rocket Rat
A Rain Island movie serial - A Screenplay
© 2009 by Walter D. Reimer
Rain Coast Communications Syndicate
THE ADVENTURES OF ROCKET RAT
(Series 1: “THE MINES OF THE MOON”)
(Chapter 1: “A CRY FOR HELP”)
Release Date: 13 April 1938
Captain Rod Stone (Rocket Rat). . Raining Sky
Lord Myu . . . . . . . . . . . . .Carl Jackson
Princess Solara . . . . . . . . . Lucy Hart
Lt. Jack Carr . . . . . . . . . . Miles Eckhardt
Dr. Jane Red Deer . . . . . . . . Michelle Stonebridge
Sgt. Alec Smart . . . . . . . . . Edwin Smith
Kat . . . . . . . . . . . . . . . Sheila McCann
Nip . . . . . . . . . . . . . . . Amy Mitchell
Borgas . . . . . . . . . . . . . .Striding Buck
General Gilroy . . . . . . . . . .Chang Li-Ssu
Producer: Clive Schmidt
Director: Ernest Two Fingers
Production Unit #3: W.D. Reimer, M.M. Marmel
Technical Adviser: E.O. Costello
Music: Musician’s Local #15
CARD: Full screen card depicting the predatory seabird (petrel) symbol against an idealized background of mountains, forest and sea. The petrel is backlit by a sunburst.
CAPTION: PETREL STUDIOS PRESENT
CLIP: Stock film clip of Rocket Rat in full armor in flight
CAPTION: ADVENTURES OF ROCKET RAT in
CARD: Depiction of Global Police Headquarters, with the prototype spaceship in the foreground.
CAPTION: THE MINES OF THE MOON
CARD: Stock still of the interior of the spaceship, a utilitarian place with various gauges, blinking lights and controls; the pilot’s and co-pilot’s seats face forward with aircraft-style controls.
CAPTION: CHAPTER ONE – A CRY FOR HELP
CARD: Stock still of Rocket Rat, helmet under one brawny arm, looking past the viewer’s right into the far distance. He wears an aluminized leather rocket suit, with the controls on his gauntlets. His expression is stern, as befits a hero.
CAPTION (SCROLLING): It is the far future, where the world has been unified under the principles that all furs are equal and that all should work for the good of their fellow furs. Principles that honor the working person. There is no more war, because the world is made safe by the actions of the GLOBAL POLICE.
CARD: Insignia of the Global Police (crossed lightning bolt and hammer, with a globe superimposed over it).
MUSIC: Global Police theme
CAPTION (SCROLLING): Wherever the forces of evil, crime or authoritarianism rear their ugly heads the GLOBAL POLICE will be there to strike a blow for peace and freedom!
CARD: Card showing the three principal characters – Capt. Rod Stone, Dr. Jane Red Deer, and Lt. Jack Carr.
CAPTION (SCROLLING): One of the leaders of the GLOBAL POLICE is Captain Rod Stone, who will become that terror of the skies, ROCKET RAT! Supported by the scientific genius of Dr. Jane Red Deer and his loyal co-pilot, Jack Carr, Rod Stone travels the world to keep the peace and enforce the law.
Even now, Captain Stone and Lt. Carr are heading for the GLOBAL POLICE Headquarters in response to an urgent summons from Dr. Red Deer . . .
CARD FADES TO BLACK
Stock footage of a Global Police car (1935 Fjord Otter open roadster with fins and insignia) driving along a forest road.
MUSIC: Global Police theme
CUT TO: Two-shot of the occupants of the car shot against a projection of the road being traveled, trees blurring by. The driver is Captain ROD STONE (Raining Sky), a rodent with an athletic build. He has one paw on the wheel and his free paw resting on the door. Seated beside him is his co-pilot and assistant, Lt. JACK CARR (Miles Eckhardt), a young badger with an earnest look about him. Jack looks concerned.
Rod, watch where you’re going, okay? I know Dr. Red Deer’s message was urgent, but she’ll be mad at you for sure if you kill us just driving up to Global Police HQ.
CLOSE UP: Rod smiles tolerantly at his friend and sidekick.
I haven’t killed us yet, Jack. Besides, I go faster than this in our rocket plane. Remember that time we flitted from Moscow to Tokyo?
CUT TO: Close up of Jack’s expression as the car swerves around a curve.
Yeah, I remember. Two hours – and I recall General Gilroy being steamed about that landing.
CUT TO: Rod looking a bit sheepish.
Yeah, he *was* a bit annoyed at that – really ruffled his feathers. Oh well, no one got hurt – and the Emperor was able to replace his cherry trees eventually.
Shot widens to take in both.
So, any idea what she wanted, other than it was urgent?
Not a clue. And Jane knows I hate mysteries.
CUT TO: Location footage of the car taking a curving path up a forested mountain (Henley); a collection of buildings can be seen in the distance.
CUT TO: Footage of Rod and Jack pulling to a stop outside a building (Sound Stage 8B, dressed). The sign beside the door reads “Global Police Headquarters – Authorized Personnel Only,” and there is an armed guard standing sentinel by the door. Rod and Jack leave the car and present their credentials to the guard, who nods. They go in.
MUSIC: Dr. Red Deer’s theme (strings and Theremin)
CUT TO: Set up shot of a hallway as Rod and Jack head for the lab; they pause beside two double doors and enter.
CUT TO: Interior of Dr. Jane Red Deer’s lab. Very large space with lab benches covered in electronic and chemical apparatus. Lots of blinking lights and a pair of Tesla generators sending small lightning charges back and forth. One table is covered in a sheet.
Close up shot of Rod looking around for the Doctor. Where could she be in all this?
Jane! We’re here! Jane?
CUT TO: Close shot of one electronics bench; two rabbit’s ears slowly erect behind it, followed by the figure of Dr. Red Deer (Michelle Stonebridge), a very attractive rabbit doe wearing that universal uniform of all scientists, a white lab coat. The Global Police emblem is on the breast pocket of the coat.
Tight shot on Red Deer’s face. She is clearly irritated.
Rod and Jack look at each other; Jack shrugs.
We got here as fast as we could, Jane -
Tight shot on Red Deer’s face as she comes out from behind the bench, and her expression causes Rod to shut up.
Enough of that right now, Rod Stone! You have the worst reputation for speed of any officer in the Global Police – or did you think I forgot that run from Moscow to Tokyo?
She’s got you there, Rod.
Look, Jane, I said I was sorry about that. Now, please, *Doctor* Red Deer, can you tell us what caused you to call me and Jack out here? Surely it wasn’t just to yell at me.
Rod smiles winningly.
You can do that over dinner tonight.
Jane’s demeanor softens, just a bit.
You’re right; I can’t stay mad at you. All right. You may recall that General Gilroy’s been wanting the Global Police to become more mobile, in order to deal with criminal activity. Mainly, he wants us to be able to respond faster.
Sure. The General said that at the last meeting.
Exactly, Jack. Well, he put me on the project, and I have a new toy for you, Rod.
She walks over to the table covered with the sheet.
Voila! My latest invention!
Revealed on the table is a neatly folded flight suit in what appears to be aluminized leather, along with a helmet designed for a rodent. In the center of the table is something the size of a backpack consisting of two large cylinders side by side and a harness. Two gauntlets fitted with dials and knobs rest nearby.
Interesting, Jane. What is it?
A rocket pack. You wear it, and fly.
Rod looks at her, then at the rocket pack, as if it were Christmas Day. Jack looks at it dubiously.
Um, I hate to ask this, doc – but is it safe?
Of course it is, Jack. It’s already been flight tested.
Rod looks up at that.
Already been tested? By whom?
Jane looks a bit uncomfortable. It’s obvious that Rod wanted to be the first to fly the thing.
I flew it, Rod.
What?! But . . . but Jane, you HATE flying. You won’t even take a rocket plane to get as close as Spontoon.
Jane looks at him crossly. It’s obvious that they’ve had this conversation before, and it clearly embarrasses her.
Don’t you think *I* know that, Rod? But this thing is new and I wouldn’t want it tested by anyone if there was a chance it wouldn’t work.
Rod smiles at her, and takes her paws in his. She looks down at their paws, then up at him.
Thank you, Jane. I really appreciate what you did.
He kisses her.
CUT TO Jack. He looks away, rolling his eyes and whistling.
CUT TO: Jane looking a bit bemusedly at Jack.
Hush, you. Do you want to test the rocket pack, Rod?
Well, since you made it for me, Jane, and that helmet looks like it’ll fit me pretty well – sure, I’ll take it up for a spin.
That’s great, Rod! It’ll be a great opportunity to see my work in action.
SCENE: Exterior, day. The woods outside the Global Police building (Henley location shot). Rod, now wearing the flying suit, is adjusting gauntlets while Dr. Red Deer makes final adjustments to the rocket pack. Jack is holding the helmet, and looking inside.
There’s an awful lot of fine electronics in here, Doctor.
Precision optics, Jack. It’ll enable whoever’s wearing it to see in the dark or in heavy fog.
Stone takes the helmet from Jack and puts it on. (His voice is dubbed in from this point.)
Thanks, Jack. This is really quite amazing, Jane. Now, what are the controls?
Right. Look here, Rod. The gauntlet on your right paw has the rocket controls.
CLOSE-UP of the right gauntlet. There are two knobs there and a button, helpfully labeled LAUNCH. There is also a gauge dial.
The gauge tells you how much fuel you have left. Pay attention to that; I don’t want you going splat, Rod.
I’ll keep more than an eye on it, Doctor. Now, the left-paw controls - ?
Shot of Jane looking up at Rod as they talk. Since he’s wearing the helmet his expression is unreadable; her expression is one of fond affection.
The left paw controls the equipment in your helmet.
All right then. Let me try this thing out. Stand back, both of you.
Camera pulls back as Jane and Jack step away.
CLOSE UP on Jane, who looks a bit concerned.
Rod, don’t you think you should familiarize yourself with the controls first?
CUT TO Rod, shaking his head.
No, I think you’ve made the controls fairly simple to understand. To take off, I just do this –
CLOSE UP of his finger pressing the LAUNCH button.
MUSIC: Dramatic chord
CLOSE UP of the rocket nozzles venting smoke (pressurized smoke generators, maybe some flames as well).
GRAMS: Roaring whooshing sound
MUSIC: Rocket Rat theme, triumphant
WIDE SHOT of the forest, with the three characters in the center of the frame. Rod (played by stuntman Winnie Bagotinsky) takes off through the air (effects created by yanking her up and out of shot via a cable harness and overcranking the camera for a high-speed effect). Jane and Jack turn away in reaction, then look back up.
CLOSE UP on Jane, looking very concerned for her man.
Where is he?!
CLOSE UP on Jack, shading his eyes as he scans the trees. He gives a start and points.
There he is! C’mon, Doc!
WIDE SHOT of the two of them; Jack turns and waves Jane on as they break into a run to pursue the runaway Rod.
MUSIC: Incidental; appropriate for a chase
Camera closes in on them as they run, dividing their attention between looking for Rod and avoiding running into trees.
CLOSE UP on Jane who pauses, one paw raised to her mouth as her expression turns to one of fear.
Rod, NO! LOOK OUT!
Off camera there is a “Thump!” as if something heavy has just hit a tree, followed by a softer thump as if something just fell to the ground.
ROD (Voiceover, off-camera):
Standard shot of the forest. Rod is lying rigidly on his back in front of a tree, his arms and legs pointing straight up and held apart (as if he’d just flown straight into the tree). Jane and Jack race up to him and kneel down beside him.
JACK (shaking him):
Rod! Captain Stone! Doctor, he’s all stiff!
You say that as if it’s a bad thing.
JACK (looking at her):
What do you mean?!
His suit’s made of something new. It’s armor, but it stays as flexible as cloth until something hits it. Then it stiffens to protect the person wearing it.
CLOSE UP on Jack. He looks very impressed.
That’s brilliant, Doc!
CUT TO Jane, who smiles winningly. She clearly enjoys having someone recognize her efforts.
Thanks, Jack. I plan on making sure that everyone in the Global Police is wearing it – ah! Rod’s waking up!
Camera pulls back to show Stone, now able to move, starting to move into a sitting position. Jane and Jack help him up; Jack removes Rod’s helmet.
No more for me, thanks . . . I’m driving . . .
Rod! Rod! Are you all right?
Jane . . . please, Jane, not so loud . . .
JANE (softer tone):
Are you all right?
Nothing broken, I think . . . Jane, do me a favor, please?
Sure, Rod. What is it?
CLOSE UP on Rod. He looks a bit disheveled.
If I ever say that I’ve figured out one of your inventions, hit me. Hard and repeatedly, please?
CLOSE UP on Jane, who smiles somewhat slyly.
With pleasure, Rod.
MUSIC: Rocket Rat theme
CUT TO: Stock footage of Rocket Rat flying (possibly a mannequin on a wire).
CLOSE UP: Rod is flying (moving backdrop or rear projection), with his paws out in front of him so that he can monitor the controls.
CUT TO: Stock footage of the landscape moving by (footage taken from airplane following along a road).
CUT TO: Dr. Red Deer and Lt. Carr standing in a clearing, looking up at the sky. Jack points and starts waving.
There he is!
GRAMS: Rocket pack sounds (whooshing sound)
CUT TO: Rocket Rat coming in for a landing, effect caused by tilting the camera when making the stock footage.
CUT TO: Rocket Rat landing feet first and either taking a few steps or trotting to take up his momentum (effect created by having a stuntman jump off a ladder). Music fades out.
CLOSE UP of Rod taking off his helmet. He shakes his head and looks a bit out of breath, but otherwise quite fine. Camera pulls back slightly as Jane and Jack get into the shot. Jack takes the helmet from Rod while Jane checks out the rocket pack.
You still have half a tank of fuel, Rod. How was your last flight?
A lot better, Jane. I think I’m getting the hang of it now.
Golly, Rod, you looked great up there! You must have been doing a hundred miles an hour!
According to the gauge on my controls, Jack, it was nearly one hundred and fifty. I’m glad this suit’s armored – if it weren’t I think I’d be pretty bruised just from the air resistance.
Rod takes the helmet from Jack and puts it on.
I’m going to take it up for one more spin, Jane. Wish me luck.
JANE (stepping back):
Rod adjusts the controls on his gauntlets.
GRAMS: Rocket pack sounds
MUSIC: Rocket Rat theme
Wide shot showing Jack and Jane standing as Rod starts running toward the camera (camera is at ground level, looking up at him at an angle). As he nears the camera he leaps out of shot.
Stock footage of Rocket Rat flying.
CLOSE UP of Rod as he looks down. He gives a start and looks closer.
MUSIC: More dramatic incidental music
Aerial shot of a small town (Henley), zooming in on a certain intersection. DISSOLVE to a ground-level shot of two robbers exiting the bank (building in town dressed with fictitious name). They are shooting guns and each carrying a bag. Obviously they have just robbed the place.
CLOSE UP of Rod, airborne, looking down. He reaches for his left-paw gauntlet.
CLOSE UP of the controls on the gauntlet, and a finger pressing a button labeled “Loudspeaker.” When he speaks his voice is amplified and given an echo chamber effect.
STOP! Put down your guns and raise your paws!
CUT TO the robbers looking around in confusion. One has been so surprised he has actually dropped his gun, and the other nudges him with a foot to his rear to bring him back to his senses.
Again, put down your weapons! This is the Global Police!
One of the robbers, the leader, looks up. CLOSE UP on him, a wolf with a scar across his muzzle (Ray O’Donnell). He sneers and raises his pistol.
You can’t stop us!
CUT TO: Stock footage of Rocket Rat coming in for a landing.
CUT TO: Rocket Rat lands and stands facing the pair of robbers. Music takes on a dramatic tone.
I’m warning you one last time. Drop your weapons and raise your paws! (softer) I hope this works . . .
CUT TO close-up of Robber #1 as he levels his pistol.
MUSIC: A bit more dramatic.
CLOSE UP on the gun (.45-caliber M1903) as it fires.
CUT TO the effect on Rod – he jerks backward, but stays on his feet as his armor absorbs the force of the bullet. He shakes his head and takes a few steps forward.
CUT TO the spent bullet lying in the street, deformed by the impact.
CUT TO the robber as he starts shooting, backing away as Rod comes into the shot from the left. Finally the gun is empty, the slide locking back.
CLOSE UP of the first robber as he turns to his compatriot.
CUT TO Robber #2 (Mitch Aherne) as he considers his chances; he throws his gun aside and raises his paws.
He can’t – CAN’T be real, Ed! I surrender!
The first robber rushes at Rod, throwing his pistol at him; Rod ducks the weapon and the two trade punches for a few seconds before Rod lays the bad guy out with a hard roundhouse left to the jaw.
MUSIC: Dramatic effect fading to incidental
Camera pulls back from the tableau as a police car pulls up, followed by the Global Police car carrying Jack and Dr. Red Deer. The cops get out of their car and slap the pawcuffs on the two robbers. The townspeople start to emerge from hiding as Jane runs up to Rod.
Rod! Are you okay?
Rod takes his helmet off and smiles at her.
I’m fine, Jane. If you’ll look around you’ll see that your new armor works just great. This was a great test of it under real conditions.
CLOSE UP of Jane looking around at the ground, lips moving as she counts the number of bullets she sees. She looks back up at Rod, her expression one of shock.
You – you might – might have been killed Rod!
Camera pulls back to frame both of them as Rod takes her paws in his.
You need to have more confidence in your inventions, my dear. Think of the lives this will save as we fight crime.
It’s not *their* lives I’m trying to save – it’s yours, you silly rat.
They look at each other, while in the background we see the cops leading the robbers away.
CUT TO Jack, seated in the Global Police car and looking bored as his friends get all mushy at each other.
GRAMS: Buzzing (Morse letter “G”)
Jack gives a start and reaches for the car’s communicator. This is composed of two pieces, an earphone with a brace for holding it to a person’s head, with a connected mouthpiece. There is no connection between it and the car.
Global Police 401 here . . . yes? Oh, hi, General! Yes, he’s here . . . you want to speak to him? Sure thing!
Jack takes the mouthpiece away from his muzzle and looks up, calling out to Rod and Jane, who are out of shot to the left.
Hey, Rod! General Gilroy for you on the sub-ether!
CUT TO Rod and Jane. Rod looks away from Dr. Red Deer to Jack, out of shot to the right.
I’ll be right there, Jack.
You’d better go see what he wants, Rod. Gilroy doesn’t usually call out to officers in the field.
Don’t I know it.
Rod walks out of shot. CUT TO him walking up to the car and taking the communicator away from Jack after placing his helmet on the car’s hood. Rod leans against the side of the car as he speaks.
Captain Stone, here, General – yes, I’ve been testing Dr. Red Deer’s latest inventions . . . oh yes, I can personally vouch for them, sir, they’re first-rate . . . yes, they’ll save a lot of lives . . . What? What’s that? A distress call? Yes . . . right, we’ll be there as fast as we can.
Rod takes off the communicator and gives it back to Jack, who stows it away.
Move over, Jack – I’ll be driving.
JACK (moving, a grin on his face):
I sort of figured you’d want to, Rod. What about the Doc?
Jane! We have to go see General Gilroy!
Shot widens and pans slightly left as Jane walks over to the car. Rod holds the door for her and she sits in the back seat. He gives her his helmet, climbs in and starts the car.
Shot of the rear of the car as it speeds off, disappearing around the corner of a building.
Establishing shot showing the front of the Global Police headquarters, with the seal of the GP emblazoned on the doors. Camera dollies forward to a close up of the seal.
CUT TO: Close up of a door plaque that reads “General A. G. Gilroy, Commander, Northern Hemisphere.”
CUT TO interior of the General’s office. It’s a utilitarian affair with a few framed photographs of aircraft and exotic locales – Africa, Europe, etc. on the walls. The General himself (Chang Li-Ssu) sits behind his desk, writing something which he then signs with a flourish. He is an imposing golden eagle, wearing a Global Police uniform with three stars on his shoulder boards.
GRAMS: Door opening, closing
The General looks up at the camera.
Ah! Good to see you could make it. Come in, all of you.
CUT TO another camera angle in the office as Jack Carr closes the door and he joins Rod and Jane as they walk up to the desk.
You wanted to see us, General?
Gilroy glances down at the paper he just signed, and looks back up at Rod.
Yes, I did. We’ve received a distress signal – from a rather unlikely source.
Is it from those settlers at the South Pole?
Good guesses, but you’re wrong.
All right then, General – where’s the distress call coming from?
CLOSE UP on Gilroy.
MUSIC: Dramatic sting
Camera angle changes to give the trio’s reaction to the general’s news from his point of view. Their reactions vary from incredulity to skepticism. Rod looks down at Gilroy.
I thought there wasn’t supposed to be any life on the Moon.
CLOSE UP on Gilroy.
I know it’s hard to believe, but we’re convinced this information is solid. Look here.
Gilroy stands and moves to a blank picture frame on the wall with a small control panel. He hits a few switches.
CLOSE UP on the frame, which shows a small (reverse projected) seal of the Global Police, followed by stock footage of white-coated scientists working with electronic equipment.
We’ve been working for a few years now on sharpening the sensitivity of our radio equipment. Dr. Red Deer’s helped the team out with a few of the technical details.
Projection changes to show a sine wave on an oscilloscope, as we watch the sine wave changes several times in amplitude.
Lately, however, we’ve started picking up an interference pattern that didn’t seem to be coming from anywhere on Earth. It had a few of the scientists stymied until someone decided to try radio direction finding equipment.
And I’ll bet that’s when they found out it was a hoax, right?
No, it wasn’t.
The projection changes to a cartoon of the Earth with radio masts in Canada and the southern tip of South America. Small animated circles radiate from the tips of the masts.
Using equipment located at Tierra del Fuego and Hudson Bay they managed to determine the source of the signal.
The cartoon Earth changes position until it’s on the left edge of the screen, with the Moon on the right. Waves are emanating from it.
Camera angle changes as Gilroy points at the screen. Over his right shoulder we see Rod, Jack and Jane.
The exact location of the signal is on the north side of the Mare Imbrium region.
The Sea of Storms?
Gilroy lowers his arm.
So how have we determined it’s a distress signal? If it is the Moon, it’s a cinch they’re probably not talking English.
It *was* broadcast in English, Rod.
CLOSE UP of the look of surprise on the rat’s face. Cut back to Gilroy.
We theorize that they learned it from listening in on our commercial radio broadcasts.
I hope they weren’t listening to all of it – some of those shows are pretty bad.
Quite right, Lieutenant.
He switches off the screen as the camera pulls back and right, putting all four of them in shot.
The broadcast simply states that they need help. A tyrant is on the loose.
And the Global Police are sworn to stamp out tyrants.
That’s’ all well and good, but the Moon’s a good distance away, isn’t it? I mean, you very well can’t get there in a rocket plane, can you?
CUT TO a close up of Gilroy, who looks to his right with a grin on his face.
I believe we know the answer to *that* question, don’t we, Doctor Red Deer?
CUT TO the trio; Rod and Jack both turn to look at Jane, who is blushing a bit, her ears dipping.
Jane? What’s he talking about?
Jane looks uneasy, as if embarrassed about being caught out by the general.
Well, Rod, I’ve been doing some research, and – well, you know how I get when I start having ideas . . .
Rod smiles and takes her paw.
I know, my dear. Care to share your idea with me and Jack?
Jane looks at his paw, then up at him.
All right. I’ve built a prototype space-ship.
Yes. It’s a craft designed to travel from the Earth to other planets. I –
That’s wonderful, Jane! We’ll be able to respond to the distress call, as well as to explore other worlds! Where is it? When can we go?
Jane disengages herself from his grasp and turns away.
That’s just it. It hasn’t flown yet. I haven’t even tested it.
Because - ?
She whirls to face him, looking angry.
Because I *don’t* like to fly!
Rod smiles at her.
I’ll fly it, Jane.
Before she can say anything, Gilroy raises a paw and everyone looks at him.
I’m sure I can guess as to your objections, Doctor, but let’s at least let him take a look at the ship first. I’ll let him make his own decision after that.
Sure, Doc. Rod’s a grownup – he can even go to the movies by himself now.
FADE OUT (Fan dissolve moving from right to left)
MUSIC: Incidental dramatic music suitable for a slow reveal
SCENE: Exterior, day. The camera tracks right as the music swells to a sting as the space-ship is revealed, bow-on to the viewer.
After the reveal the camera continues to track right to give the viewer a good look at it. The vehicle sits in a barren area (Location: Johnston Quarry).
The craft itself is about sixty feet long and roughly cylindrical in shape. The nose is flattened horizontally into a spade (shovel) shape, with windows showing the cockpit’s location. The rear of the ship is slightly flattened vertically with three rocket nozzles arranged vertically and two smaller ones flanking the center nozzle. It has two horizontal fins at the tail, angled up; there is a vertical stabilizer on top.
The Global Police emblem is prominent on the tailfins.
The camera pulls back as a door opens in the side of the craft and SGT. ALEC SMART (Edwin Smith) steps out, a short donkey in grease-stained coveralls. He wipes his paws on a rag and looks up to see something out of shot to the viewer’s left.
CUT TO: Wider shot as the car carrying Rod, Jack, Jane and Gilroy pulls to a halt a short distance from the ship. Smart walks over to it as the others get out of the car.
CUT TO: Closer shot as he walks up and shakes paws with Gilroy and Jane.
Good to see you, General. Hi, Jane!
How are things, Alec?
Everything’s in order, Doc. Ready to go.
Sergeant, I’m sure you know Captain Stone and Lt. Carr.
Smart shakes paws with Rod and Jack.
Sure! How are you two doing?
Not bad, Alec. What’s the story with this space-ship? What’s it run on?
Yes, tell us about it.
Smart smiles. It’s clear he takes pride in his work.
Well, it was the Doc who had the idea. The ship uses atomic energy to provide power.
He holds his paws about a foot apart.
This much fuel could drive the ship around the world fifty times without refueling.
Fifty times!? That’s amazing!
Jane shakes her head.
No, I can’t allow this. The engine’s not tested properly and the ship’s never been flown.
Doctor – Jane, look at me. There is a place that is calling out to us in distress.
Here we have the means to reach the Moon. We can help them deal with their problem.
He looks into her eyes.
Would you refuse to help people in trouble?
Jane looks uncertain. Finally she sighs, shrugging her shoulders.
(sighs) You know I can’t, Rod. But promise me one thing.
Will you read the instruction manual first, please? I don’t want anything happening to you.
Rod starts to laugh.
Of course, my dear.
SCENE: Exterior, day. The spaceship is standing with its hatch open as Jack and Smart work on the tail end of it.
CUT TO: Interior of the spaceship. This is a bit roomier than an airplane cockpit, with aircraft-like controls and lots of blinking lights, neon tubes, and pipes with plumbing fittings on them. Rod sits in the pilot’s seat with a clipboard, examining the various gauges on the panel before him.
Jack steps into shot, Smart right behind him.
Engines are hot and all seals are tight, Rod. She’s as ready as she’ll get.
Just take it slow and easy at first, guys. Doc Red Deer and I will be watching your progress from the ground.
Thanks again, Alec.
Smart grins and leaves the shot.
CUT TO exterior view as Smart steps out and closes the hatch behind him before stepping quickly away from the ship and out of shot to the left.
CUT TO interior again as Jack takes his seat and both of them strap in. They start moving purposefully, flipping switches and manipulating controls.
MUSIC: Incidental, dramatic and building in tension
Switched to full power.
Running up to full speed. We’re ready to move out, Rod.
Tight shot of Rod as he grins to his co-pilot.
Here goes nothing.
CLOSE UP on Rod’s paw as he flips two switches and advances the throttle.
CUT TO exterior of the tail end of the ship as smoke starts venting from the nozzles, along with flames.
MUSIC: Dramatic crescendo building
GRAMS: Roaring sound
CUT TO shot facing both of them as the acceleration shoves them both against their seats. Rod is barely able to keep his paws on the controls.
CUT TO models of the quarry location and the ship, smoke and flames coming from its tail as it lifts off and starts to climb nearly vertically.
MUSIC: Rocket Rat Theme with dramatic crescendo
CLOSE UP on the spaceship model rising at a 70-degree angle, with backdrop of clouds moving past it at speed.
CUT TO interior shot of the ship, showing the crew side by side as they fight against the acceleration. Jack is staring at his gauges.
JACK (voice strained):
Five miles . . . seven . . . ten miles up, Rod!
Tight shot of Rod as he fights with the controls.
Rides . . . like a bucking bronco . . . have to correct to a shallower angle . . .
CLOSE UP on one gauge, the needle quivering near the red line; it suddenly crosses the line and swings back all the way to zero.
GRAMS: Rocket noises die away, followed by wind sounds
Engine pressure zero, Rod! The rockets have stopped!
CUT TO the interior of a blockhouse where Smart, Jane and Gilroy stand watching the ship’s ascent through binoculars. Jane gives a start and leans forward.
Oh, NO! The ship’s falling!
CUT TO stock footage taken from a plane diving toward the ground in a spin, the landscape coming up fast from a high altitude.
CUT TO tight shot of Jane, Gilroy and Smart behind her. She raises a paw to her face with a look of horror.
They’ll be killed!
CUT TO stock footage of the landscape rushing up to meet the stricken spaceship.
CAPTION: Will the spaceship crash?
CAPTION: Are Rocket Rat and Jack doomed?
CUT TO footage of Rocket Rat in flight.
CAPTION: SEE the next thrilling episode of ROCKET RAT!
MUSIC: Rocket Rat theme, rising to a crescendo
FADE TO BLACK