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Upload: 22 July 2009
Rain Island movie serial:
The Adventures of Rocket Rat
Series 1: “THE MINES OF THE MOON”
Chapter 2: “MOON OF MYSTERY”
SCREENPLAY BY WALTER D. REIMER
Minion Kat, Lord Myu, and Minion Nip
(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 2: “MOON OF MYSTERY”)
Release Date: 20 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 TWO – MOON OF MYSTERY
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. The rodent’s 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): Captain Rod Stone and his co-pilot, Jack Carr, are in a space-ship designed by scientific genius Dr. Jane Red Deer and are on their way to the Moon in response to a mysterious cry for help.
Something goes wrong as the space-ship flies higher and higher . . .
MUSIC: Dramatic incidental
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. The rabbit doe 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.
CUT TO interior shot of the space-ship as Rod and Jack wrestle with the controls. As the ship plunges earthward we can see them being thrown violently back and forth in their seats (may take one or two takes to make sure they do it at the same time).
Tight two-shot as the two look up at the cockpit windows.
CUT TO: Stock footage of the ground rushing up to meet them.
CLOSE UP on Rod as he grits his teeth, then the rat’s ears go up as an idea suddenly strikes him.
Jack! Cut the turbines by a third!
Do it! We may not have a second chance!
CLOSE UP as the badger manipulates controls, pulling a lever and hitting two switches.
CLOSE UP of a gauge on the control panel labeled “Turbine Pressure.” We see the needle on the gauge sweep past the two-thirds mark.
Rod, we’re at two-thirds!
Right! Flaps and dive brakes out . . . stabilizers
active . . . atomic batteries to full power . . .
MUSIC: Dramatic crescendo
NOW, Jack! Restart the turbines, full throttle!
CUT TO Jack shoving the throttles forward and reacting by slamming back against his chair.
CUT TO model of the space-ship describing a long swooping maneuver as it pulls up and regains its lost altitude, this time climbing at a shallower angle.
CUT TO the interior of the control room. Jane puts a paw to her chest and falls back into General Gilroy’s arms. The eagle helps her to a chair as Alec seizes a microphone.
Rod! Jack! Are you two okay?
Close up of Alec as Rod replies (voice off-mike, distorted as if it comes via a wireless).
Yeah, we’re okay. We started our run at too steep an upward angle, I think. The engines were getting too much fuel and not enough air, and they shut down.
The donkey nods, looking relieved that his friends are all right, but stern as well at the report.
Bring the ship back and land her, Rod. I’ll take a long look at the engine. It might be the turbine pumps.
CUT TO the interior of the space-ship, two-shot on Rod and Jack. They look at each other and Rod speaks into his microphone.
I guessed it might be. I had Jack reduce the pressure to two-thirds and restarted. Seems to be working fine now.
CUT TO Alec again; he glances behind him as he looks at Jane. She’s accepting a glass of water from Gilroy. She catches his glance and shakes her head. Alec returns to the microphone.
Dr. Red Deer says “No can do,” Rod. Bring her back so we can look at everything before you try again.
MUSIC: Dr. Red Deer’s theme (strings and Theremin)
CUT TO Jane, lowering the glass of water and glaring in Alec’s direction.
Tell him – tell him if he *doesn’t* land, he should forget about coming back.
CUT TO Alec, who looks amused.
You heard that, Rod?
ROD (off-mike and chuckling):
Yeah, I heard it. We’ll be coming in for a landing.
CUT TO: Model effects footage of the space-ship landing, using same miniature sets used in the take-off.
MUSIC: Space-ship theme, segueing into incidental music
CUT TO: EXTERIOR, DAY. Alec Smart, dressed in grimy, stained coveralls, working on the ship’s engines. Several covers are off, revealing a bewildering array of pipes and fittings. He pulls two cylindrical objects from the engine compartment and examines one.
CLOSE UP of the object in Alec’s paws. It is roughly two feet long, three inches in diameter and has wires and a socket protruding from one end. There are scorch marks on the casing.
Rod! Hey, Rod!
CUT to Rod and Jack emerging from the ship and walking back to where Alec is standing.
What’s up, Alec?
Alec gives Rod the cylinder. He examines it as Alec speaks.
Like I thought, it was the overpressure on the turbines. The backwash burned out both of the anodic valve relays.
Can you fix it, Alec?
Sure thing, but it might take a bit of time. See, the central core of these relays is a rod of pure molybdenum alloy. If the rods are burned out, we’ll have to make new ones.
Rod looks up from his examination, his expression grim.
We need these relays as soon as possible, Alec. There are people on the Moon who need us.
I’ll do my best, but I warn you it could take time. Molybdenum doesn’t grow on trees, you know.
How will we be able to stop it from happening again, Alec? The last time we nearly made a big hole in the ground.
Oh, that. Got that figured out, Jack – just keep the turbine pressure at about sixty percent to prevent it from backwashing, and keep the voltage on the atomic batteries steady. Shouldn’t give you any more trouble.
Jack looks at him dubiously.
If you say so, Alec. Care to come with us?
No way, Jack. Saving the world is your job, remember?
That job’s getting ready to expand, Alec. Let’s get to work.
MUSIC: Variation on Dr. Red Deer’s theme
DISSOLVE TO a brief film montage of everyone getting ready to go. Among them we see Jane, wearing goggles and overalls, lowering a red-hot rod of metal into a cylinder. Another shot shows Alec welding various bits of pipe. A third shot shows Rod and Jack in the space-ship’s cockpit, going over checklists and working the various controls.
DISSOLVE TO exterior shot, day, by the side of the space-ship as Jack and Rod load supplies aboard. Jane and Alec stand nearby along with General Gilroy. Rod finishes passing in the last box and dusts his paws off.
Well, that’s the last of it. Can you think of anything else we might need, Jane?
Did you remember your toothbrush?
Yes, Jane, as well as my tooth-file. I was always a good Scout, you recall.
You have all the charts I prepared? I’d hate to see you miss the Moon.
How could we miss it, Alec? It’s right up there! (Makes a gesture, pointing upward) Zoom! To the Moon, Alec!
They all laugh.
Okay, Jacky boy.
Good luck, both of you. We haven’t heard any further distress calls, so be careful. Report back as you can.
Jane looks a bit uncomfortable as Jack climbs aboard and Rod prepares to go. He nods to General Gilroy.
We’ll be back, General. Jane?
JANE (subdued but hopeful tone):
I’ll be back. I promise.
I’ll be waiting.
Jane, Gilroy and Alec back away as Jack closes the hatch in the ship, Jane walking backward as if reluctant to see Rod leave. Finally she stops and turns to face the others (close up).
Let’s get to the control room. They’ll be taking off soon.
Camera pans right and we see them get into a car, Gilroy driving. The car pulls away and drives past the space-ship.
CUT TO model footage of the ship resting in the quarry.
CUT TO: Rod and Jack running through a final check of the controls, looking businesslike.
JACK (starting to strap himself in):
Are you sure this thing’s ready to fly? It was awful skittish the last time.
ROD (strapping himself in):
Should be. All we need to do is not overload the turbines. Right. Let’s get going.
Moon, here we come!
MUSIC: Rocket Rat theme
CUT TO: Model footage of the ship taking off, moving at a shallower angle than previously.
CUT TO: Interior of control room as Jane, Alec and Gilroy watch the ship leaving Earth.
CLOSE UP on Jane, watching the ship rise out of sight (looking off-camera to the viewer’s right).
JANE (almost wistful tone):
Good luck, Rod.
MUSIC: Space-ship theme
CUT TO: Model stock footage of the ship in flight, angled up with cloud backdrop scrolling past at speed. Smoke and flames are coming from the engine nozzles.
CUT TO Interior shot of the ship as Rod and Jack pilot the craft. Rod has his paws on the controls, while Jack studies the various gauges.
Altitude fifty miles, Rod. She’s moving a lot smoother than the last time.
CLOSE UP on the “Turbine Pressure” gauge. The needle is at two-thirds, and Jack’s finger reaches out and taps it.
Pressure’s holding steady, so far.
CUT TO Rod as he listens to Jack’s report. He’s smiling, even as his grip on the control yoke eases.
Thanks, Jack. The air’s getting thinner now – see? I barely need to touch the controls.
Yeah, Rod. “Look Ma, no paws” turns into “Look Ma, no teeth” awful fast.
CLOSE-UP of Rod as he chuckles. Jack is always the voice of caution he values. He looks up, looking out the cockpit windows.
What’s our altitude now, Jack?
One hundred miles, Rod, and still climbing. In fact, we’re climbing faster. You must be right; the air’s getting a lot thinner.
Rod takes his right paw off the control yoke and points.
You’re right about that. Take a look outside.
CUT TO Jack, who looks up and an amazed expression crosses his face.
Wow! Will you look at that!
CUT TO what they’re seeing out the cockpit windows. Model footage of the Earth as seen from one hundred miles’ altitude, scrolling past.
CLOSE UP on Jack, who looks awed by what he sees.
I wish I remembered to bring a camera.
CUT TO Rod, shaking his head.
We have more important things to do other than sight-see, Jack. Get the radio warmed up and report to Dr. Red Deer. What’s our altitude?
Jack starts twisting dials on the wireless set.
GRAMS: Static and high-pitched sounds as the radio warms up and he tunes in the frequency.
Um . . . three hundred miles. Are we headed to the Moon already?
Not yet. We have to go around the Earth a few times to gain enough momentum.
CLOSE UP of Jack as he tunes in the radio. He looks up at Rod quizzically. He’s wearing earphones.
GRAMS: Radio static and high-pitched sounds as the radio is tuned in.
Didn’t you letter in track and field in the university, Jack?
You know I did, Rod. Varsity team, too.
Well, if you remember throwing the hammer . . .
CLOSE UP on Jack as he realizes what Rod is saying.
I get it now! The faster we go the farther we’ll get.
GRAMS: Radio static
Global Police Space Ship One, can you hear me? Jane Red Deer calling Captain Rod Stone. Rod, are you there? Answer me, please.
CLOSE UP on Rod.
Give me the microphone, Jack.
He takes the microphone and adjusts the controls slightly before speaking.
This is Rod Stone. Hello, Jane!
CUT TO the interior of the control room on Earth; Jane is seated at the radio set with General Gilroy and Sgt. Smart in the background.
Rod! When we didn’t hear from you immediately I thought there might be something wrong. How are you and Jack doing? How is the ship holding up?
CUT TO interior of the space ship. Rod and Jack grin at each other.
We’re doing fine, Jane, and the ship is holding steady. We’re still going around the Earth, at about three hundred miles’ altitude, and after one more turn around I’ll fire the engines again and we’ll head for the Moon.
CUT TO the control room. Jane looks back at Alec, who consults a clipboard and nods. Apparently everything is going well.
You should see the view, Jane. It’s really spectacular.
I’ll be happy to look at the pictures.
CUT TO the interior of the space-ship. Rod and Jack glance at each other. Jack’s ears dip in embarrassment.
The scene opens with a matte painting of a black sky with stars and nebulae. The camera pulls back to show us that it’s really the view out of one of the space-ship’s windows. The full Moon is centered in the next window.
The camera pulls back further to show Rod still in the pilot’s seat, but without his straps on. He is watching the gauges, while Jack is out of his seat and examining some of the equipment, a clipboard in his paws.
According to my figures, Rod, we’ll have plenty of fuel for the landing and to get back to Earth when we’re done.
That’s good, Jack. I hate to think about being stranded.
JACK (looking at him in amusement):
Yeah, the Doc would really let you have it, even if she had to walk to the Moon to give you what for.
You’re right about that, buddy.
Rod leans forward, studying an instrument on the control panel.
CLOSE UP on the panel, where the gauge marked “Speed” shows a gradual increase as we watch.
What’s up, Rod?
CUT TO Rod, who sits back and puts his paw to his chin. He looks thoughtful.
We might be getting to the Moon a bit faster than we thought, Jack. We’re caught in its attraction now – look; we’re speeding up a bit.
Jack enters the shot, craning over Rod’s shoulder and looking at the instruments. After a moment he grins and straightens up, clapping his superior officer on the shoulder.
Well, that’s a good thing! The sooner we get there, the sooner we can get to the bottom of things and get back to Earth, right?
Depends on how you look at it, Jack. Sure, we’re getting there faster . . .
JACK (looks at him):
But if we don’t slow down and aim this thing, we’re going to hit a bull’s-eye.
CLOSE UP on Jack, who thinks things over and nods.
You know, you’re right. I’ll break out the maps Alec gave me. How are you going to aim this thing?
CUT TO Rod, who grins.
Simple. I’m just going to take a guess and figure in a bit of Chinook windage.
Rod holds up a thumb toward the window, closing one eye and squinting as if aiming a rifle. Jack shakes his head.
If you say so, Rod. Let me just remind you - Dr. Red Deer will kill you if you crash this thing.
If we crash, I won’t tell her if you won’t, Jack.
They both laugh, and start busying themselves with the controls.
CUT TO model footage of the ship with the Moon as background, smoke and flames coming from the model’s rocket nozzles.
CUT TO interior shot of the space-ship, with Rod and Jack at the controls. Switches are being thrown and Jack points to an indicator; Rod nods and makes an adjustment to his controls.
MUSIC: Rocket Rat theme as incidental
CUT TO: Model footage of the space-ship flying over a rocky, mountainous landscape.
Coming in for a landing . . .
GRAMS: Wind whooshing past the space-ship
We’re at five thousand feet now, Rod.
Good. Cut back the rockets, Jack. Thrust at one-half.
CUT TO aerial stock footage of the Badlands region of the NW United States, or similarly desolate wasteland (Death Valley).
Okay. Wow, this place looks worse than the Badlands! How are we going to find a level place to set this thing down?
I’m going to drop us down further, Jack. Keep your eyes open for any level spot and I’ll set it down there.
CUT TO Jack. He looks a bit doubtfully at Rod, then looks out the window, searching carefully.
There, Rod! A level spot about, um, a mile away on your right. Looks like an arroyo – fairly flat, too.
Okay, Jack. Here we go!
Rod manipulates the controls, pushing the yoke forward. Camera angle tilts and Rod and Jack move as if the ship is nosing down.
GRAMS: Rocket sounds, with wind whooshing
MUSIC: Rocket Rat theme, with Theremin
Model footage of the space-ship landing on a level plain with mountains in the background. Possible matte painting showing a smoking volcano in the far distance.
CUT TO interior of the ship as it lands. The camera moves around and the two actors move as if the landing’s a bit bumpy.
We’re down! Shut down the turbines and cut the atomic batteries, Jack!
Jack starts closing switches and valves.
GRAMS: Rocket and engine sounds fade away
The two look at each other and grin triumphantly. They’ve made it!
Warm up the radio again, Jack, and let’s let Jane and the rest know we’ve arrived on the Moon.
MUSIC: Dramatic incidental music
FADE IN to exterior shot of the Global Police Headquarters.
MUSIC: Dr. Red Deer’s theme (strings and Theremin)
Fan (right to left) DISSOLVE TO the interior of a radio room, two entire walls covered with electronic equipment with the usual dials, meters and flickering oscilloscope tubes. Two radio technicians sit at the console while Jane and General Gilroy stand, gazing at the radio nervously.
Jane turns to Gilroy, clearly looking worried.
They’re overdue to report, General. I hope nothing’s gone wrong. I – I wouldn’t forgive myself if -
Gilroy ruffles out his feathers a bit. It’s something he obviously doesn’t want to consider. He pats her on the shoulder.
Now, Dr. Red Deer, I’m sure it’s not because there’s anything wrong. They have a lot to do -
There is a sudden electronic whine and hiss of static as the radio starts. The technicians start turning dials to bring in the signal and Jane and Gilroy rush over to the console.
Is it them?
CUT TO: One of the technicians (Mitch Aherne, fur dyed) picks up a set of earphones and listens.
Could be . . . definitely something there. Robby, cut in those filters and raise the gain, will ya?
The other technician turns a dial and throws two small switches. The first technician grins, nods at his fellow and switches on the speakers.
Global Police Space Ship One to Earth . . . Calling Earth, this is Global Police Space Ship One, do you hear me? Over . . . Calling Earth . . .
CUT TO Jane, who clearly looks as if she’s about to cry or dance with joy that her ship works and her beau is alive and well.
This is Earth, General Gilroy speaking. Can you hear us, Rod? This is General Gilroy.
Hello from the Moon, General! We’ve touched down about three miles away from the source of that distress call.
Are you all right, Rod?
ROD (V.O. with static in the background):
Yes, Jane, we’re both all right. The space-ship performed like a championship racehorse, and we still have enough fuel to get back.
Wonderful news! Can you tell us what you see?
CUT TO the interior of the space-ship as Rod and Jack lean forward to look out the windows.
Looks pretty desolate, Doc – no trees, rocks everywhere -
The camera moves to give the effect of something shaking the ship.
What the blue blazes – What was that, an earthquake?
Might be, Rod. Look out over there.
He points and Rod looks.
CUT TO stock footage of Katmai (Valley of 10,000 Smokes).
You know what they say – where there’s smoke, there’s fire. Might be an active volcano nearby.
Rod nods as he picks up the microphone again.
You might be right at that, Jack. Jane? Hello, Jane?
Yes, Rod? I read you.
It might be none too safe here. There’s evidence of volcanoes. Do you have a fix on our position by now?
CUT TO the control room; Jane looks at Alec, who nods, passing her a sheet of paper.
We show your position about a mile from the source of the distress signal, Rod. Still nothing after that first contact from them. We’ve tried to call them back on the same frequency, but they’re not answering.
CUT TO the space-ship, where Jack is now working at a complicated setup involving various pipes, valves and at least one gauge. Rod is listening to Jane.
All right. If they’ve gone quiet, we’ll just have to pay them a visit. Jack’s testing the atmosphere now to see if we can breathe the air.
He turns and looks at Jack. The badger turns a valve, looks at the result on a nearby gauge and nods to Rod with a big smile on his face.
Tell Alec his detector’s working great. Jack just tested the air and it checks out as breathable.
That’s great news. Are you and Jack going out, then?
Yes, Jane, we are. Jack will search on foot while I use the rocket pack and scout around from the air.
Be careful, Rod. Report back when you can, please.
Will do, of course. Global Police Space Ship One, signing off for now.
Rod shuts off the radio and looks at Jack, who’s now wearing an aluminized armor suit similar to Rod’s flying suit.
Way ahead of you, Rod. Do we wear blasters?
CUT TO Rod, who looks thoughtful. He glances back out the windows then returns to his friend and co-pilot.
Yeah. Apart from any wildlife, we don’t know what kind of reception we might run into.
From the looks of the landscape out there, Rod, I’m betting it won’t be a wedding reception.
MUSIC: Incidental Moon theme (Theremin and oboe)
CUT TO exterior shot (another part of the Johnston Quarry) and the space-ship, with a small amount of smoke coming from its rocket nozzles. The hatch in its side opens and Rod (dressed in his flight suit and rocket pack, carrying his helmet in one paw) and Jack (wearing a similar suit, but a wireless headset) step out. They both wear gun belts with blaster pistols, and Jack carries a mountaineer’s long-handled axe in his paw. Jack closes the hatch and they look out over the terrain.
CUT TO stock footage of Katmai (Valley of 10,000 Smokes), camera dollying from right to left to show the desolate landscape of the Moon.
CUT TO Jack, who starts and points off to his extreme left, drawing Rod’s attention.
CUT TO stock footage of a distant volcano, smoking but not actively erupting.
Your guess was right, Jack. Don’t you wish you brought that camera, now?
No need to remind me, Rod. Well, at least we know what was causing the ground to shake. Do we take off again and find a safer piece of ground?
CUT TO Rod and Jack as Rod starts putting on his helmet.
No, I think it’ll be all right for now. I’m going to take off and scout around, you head off in the direction Jane indicated and see if you can find anything.
Right. We keep an open radio channel?
ROD (voice-over, as he has his helmet on):
Absolutely. Keep an eye out for any signs of life.
The two separate, Jack walking out of shot to the right, leaving Rod as he makes final preparations. He adjusts a knob on his control gauntlet and runs toward the camera.
CUT TO ground-level shot of Rod leaping
GRAMS: Rocket noises
MUSIC: Rocket Rat theme
CUT TO stock footage of Rocket Rat flying through the sky.
CLOSE UP on Rocket Rat as he starts looking from side to side at the landscape below him.
CUT TO model footage of a rocky landscape, with a feral baby alligator (or similar) in the foreground; the alligator has a high sail-backed fin on its back to make it look like an otherworldly monster.
GRAMS: Deep growling
MUSIC: Dramatic chord, Moon theme
CUT TO Rocket Rat in flight
CUT TO the Moon monster, its jaws gaping open.
GRAMS: Roar (lion, played backward)
CUT TO Rocket Rat looking down and giving a small start as he sees the monster below him.
CUT TO the monster as it leaps! Dramatic music sting as it does so (have the animal wrangler tease it into jumping with a piece of meat on a string).
GRAMS: Rocket pack sounds
CUT TO model footage of the monster leaping and missing the flying rodent (Note: Use a small model of Rocket Rat on a wire)
CUT TO close up of Rocket Rat in flight, Rod looking behind him at the monster.
What the blazes was that?
CUT TO model footage of Rod as he executes a wide turn; the monster leaps at him again, trying to trap him in its mighty jaws.
Talk about a rude reception . . . I just hope it isn’t anyone’s pet . . .
CLOSE UP of Rod as he draws his blaster pistol and takes aim.
EFFECTS: Negative scratch to show the beam projected by the blaster pistol
GRAMS: Blaster sound (distorted blank pistol shot)
CUT TO footage of the Moon monster as the beam touches it
EFFECTS: Negative scratch to show the beam; negative scratched sparks to show the effect on the monster
GRAMS: Electric ‘zap’ sound
CUT TO the monster running away through the rock-littered landscape
I think that’s taught him not to jump at everything he might like to eat. Jack? Jack, are you there?
CUT TO Jack, pausing as he hikes over a rocky slope.
YES, Rod, I’m here.
If you should see a thirty-foot lizard headed your way, blast it. It just tried to make a snack out of me.
Jack is looking around he talks with Rod; he pauses and peers off in one direction (looking to the viewer’s left).
Will do, Rod. I see what might be a cave of some sort up ahead, by the way.
That’s great, Jack! Wait for me and I’ll home in on your signal.
Jack nods and starts working his way down the slope, placing his feet carefully to avoid slipping or falling. He occasionally uses the mountaineering axe to steady himself as he clambers over the rocks and walks out of shot to the viewer’s left.
CUT TO a wider shot as Jack walks toward the cave. The cave (a mine entrance, scenery dressed) is of finished stone and looks like a ceremonial entrance and not a working mine. It has smooth steps leading up to it, columns on either side, and a crest over the top that includes a crown.
Jack stops just at the foot of the steps, looking up at the crest over the entrance.
Looks like quite the place. Although . . . that crown there – I don’t think they’ll be quite so friendly, whoever they are . . .
GRAMS: Woman’s scream
Jack gives a start as the music turns dramatic; he realizes that the scream came from inside the cave.
Rod! Get over here, quick! Someone’s in trouble!
The young badger runs into the cave, drawing his blaster pistol as he runs.
CUT TO extreme close up of a spider’s face, its legs moving menacingly.
CUT TO a giant hairy leg, possibly the spider’s we just saw, waving menacingly toward a young woman (Amy Mitchell). She is a lynx femme, wearing a leotard as an inner garment with a kimono over it. She cowers in fear and screams again.
CUT TO Jack running through the tunnel; he pauses, and heads off in the direction of the scream again.
CUT TO CARD showing the tunnel entrance.
CAPTION: Who is this mysterious woman?
CAPTION: Will Rocket Rat and Jack arrive in time to save her?
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
next (Until further notice, this sequence of scripts goes to Chapter 5, the conclusion.)