THE ODYSSEY OF FLIGHT 33
Originally
Broadcast February 24, 1961
- 1.
Standard Road Opening
- With
vehicle smashing into letters, propulsion into starry night then
PAN DOWN TO OPENING SHOT OF PLAY.
- 2.
Film clip a Boeing 707 jet flying over ocean
- If
possible, the most effective introduction to the story and aircraft
would be a shot through clouds as the aircraft barrels in toward
the camera and then zooms past overhead.
DISSOLVE
TO:
- 3.
Int. cockpit [Day] Full shot the area
- As
seen from the flight deck door leading toward the lounge cabin.
The CAMERA THEN MOVES IN FOR A PAN SHOT around the faces of the
crew. First Purcell, the Flight Engineer, continuing around to
the First Officer, Craig, alongside to Farver, the Pilot, then
over to the other side of the room to Wyatt, the Second Officer,
and alongside of him Hatch, the Navigator.
- 4.
Med. close shot Captain Farver
- As
he makes a visual sweep of the instrument panel then leans to the
right a bit to adjust the trim tab. He looks over his shoulder
to the Navigator.
- Farver
- Hey,
Magellan, how about a flight progress report?
- Hatch
- Coming
up, Skipper. We'll be about four minutes behind flight plan at
30 degrees west.
- 5.
Med. close shot Second Officer Wyatt
- Who
removes his earphones.
- Wyatt
- Captain,
Gander wants to know if you intend an altitude change after we
pass 30 west?
- Farver
- Advise
Gander negative.
The Navigator
takes a sheet of paper off of a clip board and hands it to the Flight
Engineer who scans it briefly then hands it to the Captain.
- Farver
(grinning)
- Gentlemen,
you'll be pleased to know that thanks to the quality of this aircraft,
the fine weather, and my brilliant flying, we'll hit Idlewild on
schedule if our speed holds up.
- (he
hands the report to the Second Officer)
- Send
it in, Wyatt.
The Second
Officer takes the report, puts on his earphones, flicks on a switch and
then talks into the mike.
- Wyatt
- Shannon,
Shannon, copy Gander...Trans-Ocean flight 33, position 50 north,
30 west, time 14-OH-3...flight level 35,000. Estimating 52 north,
40 west and 14-31. Estimating Idlewild 18-30. Endurance 7-9-5-6-OH.
Temperature minus 47. Acknowledge, Shannon.
- (he
listens for a moment then looks up)
- Report
received, Skipper!
- 6.
Different angle the area
- As
Jane Braden, Senior Stewardess on board, comes in through the flight
deck door, shutting it behind her.
- Craig
- How
we doin' back there, Janie?
- Jane
- Your
passengers are highly content. But on behalf of the stewardesses,
we would like to respectfully request that we get to New York as
soon as possible. One's going to the opera, three have heavy dates,
and the fourth is available to any honorable and single crew member!
There's laughter
at this as the CAMERA MOVES PAST THE VARIOUS CREW MEMBERS until suddenly
it stops on Captain Farver, who seems to stiffen and then holds up a
right hand.
- Farver
(tersely)
- Hold
it a minute!
- 7.
Different angle the crew
- As
they each stop, stock still, staring toward the Captain. He looks
off to the left staring at nothing in particular, but obviously
listening to or feeling something.
- Farver
(turns to First Officer)
- You
feel anything?
Craig listens
for a moment then turns back to Farver.
- Craig
- Feel
anything? No. What do you mean, Skipper?
- Farver
(shakes his head)
- I
don't know. I felt something. Something funny. Like a sensation
of speed. I...I can't even put my finger on it.
- (then
he seems to relax)
- I
guess I'm getting old.
- Craig
(glances at the instruments)
- True
airspeed 440, Skipper. We're level. Do you suppose we picked up
a tail wind?
- Farver
(looks down at the instruments)
- Maybe.
Those jet streams are tricky. But it's that...that crazy feeling
I can't shake. You can't feel a tail wind. But I feel something!
- Craig
(shakes his head and again checks the instruments)
- Everything
looks fine, Skipper.
- Farver
(over his shoulder to the Navigator)
- Magellan,
give us a speed check with your Loran.
- Hatch
- Right.
The CAMERA
MOVES OVER TO HIM as he works with the Loran briefly then looks up, a
puzzled expression on his face.
- Hatch
- I'd
better do it again.
- Jane
- What's
going on-
- Hatch
(waves her quiet)
- Hold
it a minute.
- (he
checks the Loran again, is now obviously worried as well as puzzled.
He looks back over toward the Captain)
- Skipper,
Loran indicates a ground speed of 830 knots. I've never heard of
a tail wind like that.
- Farver
- Check
it again.
- (then
he turns to Wyatt)
- See
if you can raise OSV Charlie, air defense radar. Ask them to give
us a fix and check our ground speed.
- (then
over his shoulder toward Navigator)
- Magellan,
you sure about that Loran?
- Hatch
(looking down at it again)
- Skipper,
I'm not only sure - but we're still accelerating. 980 now.
- (he
keeps hunched over his Loran)
- 1120.
1500.
- (he
wets his lips, his face going white)
- God
in heaven, I can't even keep up with it!
- Farver
(looks toward Wyatt)
- Anything
from air defense?
- Wyatt
- No,
sir, I can't raise them.
- Hatch
(half risen in his seat, his voice awed)
- 2100.
- Craig
- I
hope the wings stay on.
- Farver
(grimly)
- They
will. Don't worry about the wings - just watch that true air speed.
Ground speed means nothing. We're just in one lulu of a jet stream!
He glances
down at the instruments and shakes his head, then looks again in complete
and utter disbelief, then over his shoulder to the Navigator.
- Farver
- Magellan!
My needle just reversed on Gander Omni. How could we get past Gander?
Give me a fast position check.
- 8.
Close shot Hatch
- As
he takes a fix on the sun through an astrodome.
- Hatch
- Skipper
- we are past Gander. We must be doing 3000 knots.
- 9.
Pan shot around the room
- As
the crew, almost like a flock of frightened children, turn as if
by direction toward the Captain. The Captain hesitates a moment,
then looks to Wyatt.
- Farver
- Try
to raise Harmon control. If you can't raise them, try Moncton or
Boston. And at this speed you might as well try to get Idlewild.
CAMERA MOVES
AROUND so that it is facing the Captain as behind him we hear Wyatt into
the mike.
- Wyatt
- Trans-Ocean
33. Harmon control, come in please...Harmon, please acknowledge.
Trans-Ocean 33 Moncton...Trans-Ocean 33...Boston control, come
in please...Trans-Ocean 33 to Idlewild control...can you hear us
please.
- (he
lowers the mike, hesitates for a moment, biting his lip, then turns
to the Captain his voice almost haunted)
- No
soap. I can't raise anyone.
- 10.
Pan shot around the group again
- As
each face suddenly shows a rising, nightmarish tension.
DISSOLVE
TO:
- 11.
Ext. Sky clouds film clip of plane
- As
it moves atop the overcast.
- Serling's
Voice
(o.c.)
- You're
riding on a jet airliner en route from London to New York. You're
at thirty-five thousand feet atop an overcast and roughly fifty-five
minutes from Idlewild Airport. But what you've been witnessing
occur inside the cockpit of this plane is no reflection on the
aircraft or the crew. It's a safe, well-engineered, perfectly designed
machine. And the men you've just met are a trained, cool, highly
efficient team. The problem is simply that the plane is going too
fast and there is nothing within the realm of knowledge...or at
least logic...to explain it.
DISSOLVE
THRU TO:
- 12.
Int. Plane dolly down aisle until we reach Serling
- In
the very back seat of the first class cabin. He looks up to face
the camera.
- Serling
- Unbeknownst
to passenger and crew, this airplane is heading into an uncharted
region well off the beaten track of commercial travelers. It's
moving into the Twilight Zone. What you're about to see...we call
"The Odyssey of Flight 33."
FADE TO BLACK:
OPENING BILLBOARD
FIRST COMMERCIAL
FADE ON:
- 13.
Int. Passenger lounge [Day]
- Jane
Braden comes out from the cockpit, shutting the flight deck door
behind her. Her assistant stewardess, Paula Temple, is just putting
some coffee on a tray in the small galley adjoining the lounge.
- 14.
Med. close shot Paula
- Paula
- I
hope you prodded the fly people. I'm seeing The Ride of the Valkyrie
tonight.
The smile
and lightness leaves her face as she stares into Jane Braden's features.
- 15.
Close shot Jane
- We
see the pinched whiteness of a human being desperately trying to
stifle an enveloping fear that is taking a hold of her.
- 16.
Reverse angle looking toward Paula
- As
she forces a smile, her voice taking on a different tone.
- Paula
- Janie...I've
always had a thing about Valhalla. Be a good egg and tell me I'll
be there in time for the curtain.
Jane looks
briefly at the single passenger in the lounge, then takes Paula's arm
and firmly guides her into the galley section so that they can't be heard.
- 17.
Different angle the two of them
- Their
faces close together.
- Jane
- Let
me put it to you this way. It's my most earnest wish that the Valhalla
you're talking about is at the Metropolitan Opera on Seventh Avenue
and 57th Street in little old New York.
- 18.
Close shot Paula
- As
seen from over Jane's shoulder, her voice is very still.
- Paula
- Instead
of?
- 19.
Reverse angle looking toward Jane
- Jane
(quietly)
- Instead
of...a conducted tour into the real thing.
- (she
bites her lip)
- We're
in trouble.
- 20.
Two shot
- Paula
- How
bad?
- Jane
- They
don't know yet.
- (then
looking down at Paula's tray)
- Go
ahead and serve it.
Paula, with
a jerk, lifts up the tray in shaking hands and starts to move out.
- Jane
- Paula-I...
Paula turns
to her.
- Jane
- Like...coffee,
tea or milk...and with a smile.
- 21.
Different angle Paula
- As
she forces a tight smile, grips the tray tighter.
- Paula
- You
got a deal. But I wish I'd gone to acting school.
She turns
and carries the tray past the lounge into the first class cabin.
- 22.
Track shot with her
- As
she walks down the aisle.
- 23.
Different angle an elderly woman
- Sitting
next to a British officer in an RAF uniform. After Paula passes
them, the CAMERA MOVES IN FOR A TWO SHOT OF THEM. The woman is
a lippy, loquacious, typical perennial tourist.
- Woman
(in the middle of an incredibly long discourse)
- You
know, you talk about ailments. I had an aunt once in Boise, Idaho,
who had one of the worst livers in the medical history of the state.
When that woman passed on, rest her soul, would you believe it?
There was five medical associations bidding just to get her liver
in a bottle on display. But her mother...that's my father's sister...absolutely
refused to let them show her liver. And it's like I always said
to my late husband-
- (she
suddenly stares at the epaulets on the officer's shoulders and
without missing a beat)
- What'd
you say you was?
- Officer
(through drooping lids)
- A
captain, madam. I'm a military attache at our British embassy in
Los Angeles.
- Woman
- Now
isn't that wonderful. Nephew of mine was in the Navy during the
Second World War. He was on a cruiser or a PT boat or something
like that. Or was it a battleship?
CAMERA PANS
OVER for a close shot of the RAF officer as he suddenly looks away, then
looks first at the front of the ship and then to its rear, then back
to the woman.
- Officer
- Did
you feel anything?
- Woman
- Well,
I felt a little queasy when we took off, but my late husband used
to say that I had a stomach like a-
- 24.
Different close shot RAF officer
- As
he looks out toward the wing.
- Officer
- That's
odd. That's really quite odd. I felt a sensation of...a sensation
of speed or something. Acceleration.
ABRUPT CUT
TO:
- 25.
Close shot Paula's hands
- As
she takes a tray out of one of the passenger's hands. The tray
is shaking. The cup on it tips and almost goes over on its side.
- The
Passenger
(a middle-aged man)
- Got
a little nerves, miss?
- Paula
(with a forced high, uneven laugh)
- Heavy
date in New York. Little shook up.
- The
Passenger
(laughs)
- I
don't blame you then.
- 26.
Different angle Paula
- As
she gets the tray, turns in the aisle, stops, closes her eyes as
if saying some kind of wordless prayer, then collects herself,
forces a smile and starts back toward the galley.
DISSOLVE
TO:
- 27.
Int. Cockpit
- In
this compartment the tension has almost physical properties. It's
like a block of some kind of cutable material. All eyes are on
the Captain except Hatch the Navigator who continues to study the
Loran, shaking his head in disbelief as each moment passes.
- 28.
Pan shot over to Second Officer Wyatt
- Who
speaks quietly into the mike then starts to fiddle with some dials.
- Captain
- What
about it?
- Wyatt
(shaking his head)
- Not
a thing, sir. Not a bloody thing. Either they're off whack...everybody
out there...
- (then
meaningfully)
- Or
we are.
- Craig
- Check
your equipment again.
- Wyatt
(his voice rising)
- I've
checked it four times-
- Farver
(interrupting)
- Knock
it off. We'll just have to bull it through and see if anything-
- 29.
Different angle cockpit
- As
there is suddenly a blinding flash of white light. The cockpit
shudders and bucks.
- 30-35.
Series of cuts to various crew members
- The
Flight Engineer is tossed from his seat. The Navigator is thrown
forward. The clip boards tumble down on his head. Both pilot and
co-pilot instinctively reach for controls. The light dissipates
as quickly as it came.
- Craig
- Did
we hit something?
- Farver
(tersely)
- I
don't know. Check for damage!
- 36.
Different angle Craig
- As
he looks out of the side window.
- Craig
- Numbers
three and four are still on the wing. They look okay.
- 37.
Two shot
- Farver
(turning back from his own side)
- Ditto
one and two. Everything seems to be in one piece.
- (he
turns to Purcell)
- Purcell,
go aft and check for any cabin damage. Report back as fast as you
can. I'll get on the horn and try to calm everybody down if they
need calming. Tell the girls to stay with it.
- (then
turning back to instrument panel he says softly)
- We're
in trouble. But I don't know what kind of trouble.
- 38.
Close shot Hatch
- Hatch
- That
light. That crazy light. What was it?
- 39.
Close shot Farver
- As
his eyes scan the instrument panel.
- Farver
- That's
something we'll have to find out.
- (then
turning toward First Officer)
- And
quick too.
- Craig
- What
was that shaking - turbulence?
- Farver
- I
doubt it. It was more like a...like a...
- Craig
- Like
a what?
- Farver
(turning away, wetting his lips)
- Like
a sound shock wave. As if we'd gone past the speed of sound.
- Craig
(incredulous)
- You
mean we hit Mach 1? We broke the sound barrier? We didn't get any
Mach 1 warning.
- Farver
- We
probably wouldn't - not with the true air speed of only 440. I
don't know what it was. I just don't know. Magellan's last speed
fix showed 3,000 knots. We could have broken some kind of sound
barrier, but...
Then turning
very slowly in his seat and looking from face to face.
- 40.
Pan shot around faces of the men
- Winding
up with the same close shot of Farver again.
- Farver
- But
not any sound barrier I've ever heard of before.
- (he
wipes his mouth with the back of his hand)
- Magellan,
can you give me a Loran fix now?
- 41.
Close shot Hatch
- Hatch
(after checking his equipment, looks up)
- Whatever
that bump was, Skipper - it's really knocked out everything. Loran's
inoperative.
- Craig
- Altimeter
and rate of climb steady, Skipper.
- Wyatt
(in the b.g. has been fiddling with the mike and radio dials)
- Skipper,
I still can't raise Gander or Moncton or Boston or anybody. It's
like I said...either they're off the air or we are...or both!
- 42.
Close shot Farver
- As
he takes a deep breath.
- Farver
- Hatch,
give me a sun fix. I'll need a heading to Idlewild from our last
known position. If we can't raise anybody, we'll have to go down
and establish visual contact.
- 43.
Close shot Craig
- As
he turns, amazed.
- Craig
- Skipper,
we can't do that! We leave this altitude and we'll land smack dab
in the middle of twenty other flights.
- 44.
Close shot Farver
- Farver
- You
got another alternative, Craig? Sooner or later we're gonna have
to find a landmark or go VFR. With no radio contact we're like
a deaf and dumb man. But as long as we stay up here we're also
blind.
- 45.
Med. long shot across the cockpit
- Looking
toward flight deck door as Purcell enters.
- Purcell
- No
damage aft, Skipper. Everybody's shook up a bit and they're curious
and they're also plenty scared.
- 46.
Med. close shot Farver
- As
he takes another deep breath.
- Farver
- Them
and me.
- (he
reaches for a hand mike)
- Ours
not to reason why. Ours but to do or die...into the valley of public
relations.
- (he
flicks on the cabin P.A.)
- Ladies
and gentlemen, this is Captain Farver. I want to assure you that
everything is fine.
- 47.
Insert Craig's face
- As
he grins wryly.
- 48.
Back to scene
- Farver
- And
there is no danger. We encountered a little clear air turbulence
back there along with some kind of a...a...an atmospheric...phenomenon.
There's been no damage to the aircraft.
As he speaks
his eyes scan the cockpit.
- 49.
Close shot the Radio Equipment
- As
seen from Farver's p.o.v.
- 50.
Different angle Farver
- Farver
- Except
for some...some temporary malfunction of our radio.
CUT TO:
- 51.
Pan shot down the aisle
- Of
the first class cabin, past faces of the various passengers as
they listen with an intensity beyond any kind of known concentration
as the Captain's voice comes over the P.A.
- Farver's
voice
- I
repeat...there is no cause for alarm, and we'll keep you posted.
If we run according to schedule we should be landing in Idlewild
sometime inside of the next forty minutes.
CUT TO:
- 52.
Int. Cockpit close shot Farver
- As
he puts down the hand mike, closes his eyes, wipes his forehead,
then looks up sharply.
- Farver
- Purcell,
what's our fuel?
- Purcell
(checking his instruments)
- 29.435
pounds.
- 53.
Different angle Farver
- Farver
- With
that Loran out, I don't know what our ground speed is, but I've
got a hunch we've left that tail wind. I don't have that feeling
of speed anymore.
- (then
over his shoulder)
- Magellan,
how about that heading to Idlewild?
- 54.
Close shot Hatch
- Who
takes a deep breath.
- Hatch
- Part
of this is scientific, Skipper...part of it's Kentucky windage.
Try two-six-two...that's as close as I can make it.
- 55.
Pan shot around the silent faces again
- As
they look toward the Captain, and there is utter silence save for
the whistling of the jet engines outside.
- 56.
Different angle Farver
- As
he too takes a deep breath.
- Farver
- All
right, gentlemen, you know what we're up against. We have no radios.
We're apparently out of touch with all ground radar points. We
don't know where we are. We don't even know if we're on airways.
This beast gulps fuel...you know that only too well. We've got
one chance. Go down through this overcast and look for something
familiar. It's very possible...not to say probable...we may hit
something on the way down. But we've got to take that chance. I
just wanted you to know where we stand. Now everyone keep a sharp
lookout for other traffic...keep your fingers crossed...
He reaches
over and flicks a button.
- 57.
Close shot insert seat belt sign going on
- 58.
Back to scene
- Farver
- I
don't think a few prayers would be out of order either. All right,
Craig...we're going down!
CUT TO:
- 59.
Film clip 707
- As
it banks and starts to descend through the overcast.
- 60.-64.
Series of cuts
- From
film clip to the interior of the cabin, of the faces of the men
as they peer out through the window.
- 65.
Int. Cockpit [Day] Full shot the area
- Hatch
scrambles out of the astrodome and stares from face to face. Craig
at this moment turns from checking out his side of the cockpit
with a totally disbelieving expression.
- Craig
- Skipper-
- Farver
(shaking his head, in a soft voice)
- I
don't get it.
- Hatch
- It
happens to be a fact, though. That's Manhattan Island down there.
- Purcell
(who's left his seat and is staring over Craig's shoulder)
- Manhattan
Island?
- (looking
around, in a strained voice)
- How
could it be Manhattan Island? Where's the skyline? Where are the
buildings?
- Farver
- I
don't know where they are, but we're over New York City. There's
only one small item that's a little amiss here...
At this moment
Jane enters from the galley and stares at the faces.
- Jane
- The
passengers are-
- Purcell
- I
don't blame them.
- Jane
- We're
over land, but I don't see any-
- Farver
(turns in his seat and stares directly across at her)
- Any
what, Janie? Any city - right? We don't either.
- (he
jerks his head toward the windshield)
- That's
Manhattan Island down there. There's the East River and the Hudson
River. There's Montauk Point and every other topographical clue
we need.
- (a
pause as he looks around at the faces)
- The
problem is, Janie...the real estate's there. It's just the city
and eight million people who seem to be missing. In short...there
isn't any New York. It's disappeared!
- 66.
Close shot Craig
- Skipper...verify
something for me, would you? And in a hurry? Look!
At this moment
both Purcell and Hatch leave their seats to stand over the shoulders
of the pilot and co-pilot.
- Hatch
- It's
not possible!
- Purcell
- What
in the name of everything holy is going on?
The CAMERA
STARTS a fast pan over the instruments, shooting out toward the wing.
DISSOLVE TO:
- 67.
Ext. Sky and a pan down through the clouds
- Until we're shooting ground level through trees and overgrowth.
Overhead the 707 streaks by and as the CAMERA MOVES TO THE RIGHT
we see a giant prehistoric animal grazing off a top limb of a tree.
FADE TO BLACK
END ACT ONE
ACT TWO
FADE ON:
- 68.
Int. First class cabin moving shot Jane
- As she walks with slow, desperate nonchalance down the aisle
smiling left and right, reacting to the nervous, tense glances
of the passengers with a wink or a whispered nod of encouragement.
The CAMERA MOVES WITH HER until she reaches the galley then she
stops, closes her eyes, wipes her face and leans against a bulkhead
for support. Paula, rising from the lounge, walks across to her.
- Paula
(in a hushed voice)
- What's
the score? We've been circling for five minutes now.
- Jane
(with a nod toward the cockpit)
- They
said they'd keep in touch. Not to come in.
Both stewardesses stare toward the flight deck door.
DISSOLVE THRU TO:
- 69.
Cockpit
- Each man is at his place and each occasionally looks toward
Farver with a side glance.
- Craig
- What
do you think, Skipper?
The CAMERA PANS AROUND until it is on a profile shot of Farver at
the instruments.
- Farver
- Well
we've flown over what should be Schenectady, Albany, and points
north.
- (he
shakes his head and wets his lips)
- I'll
give you a surmise, gentlemen. You may want to truss me up with
ropes, but it's the only single explanation I can come up with.
Somehow...in some way...we not only went through the speed of sound-
- (he
looks from face to face)
- We've
gone back in time.
- 70.-73.
Series of reaction shots of the other crew members
- 74.
Med. close shot Craig
- Craig
(softly)
- What
do we do about it, Skipper?
- 75.
Close shot Purcell
- Purcell
- Skipper,
fuel is nineteen thousand pounds.
- 76.
Close shot Farver
- As he scans his instruments grimly.
- Farver
- Then
here's what we do about it. We rev this baby up until she's going
as fast as she can. We'll climb until we hit that jet stream and
then...then we try to go back where we came from. All right, Craig...let's
do it!
CUT TO:
- 77.
Film clip 707
- Climbing and picking up speed.
DISSOLVE TO:
- 78.
Int. Cockpit
- As Purcell hunches over the Loran and reads off the airspeed.
SUPER OVER THIS an exterior shot of the 707 as it accelerates.
- Purcell
- 700
knots. 780 knots. 800 knots. 900 knots.
- (he
looks up excitedly)
- Skipper,
I think we're going to make it!
CLEAR SUPER
- 79.
Extremely tight close shot Farver's hand
- As he pushes the speed upward on the throttle.
- 80.
Close shot Loran
- As the arrow keeps edging forward past the numbers on the dial.
- 81.
Close shot Farver
- Sweat pours down his face.
- 82.-85.
Series of cuts from face to face
- 86.
Angle shot looking down from the top of cockpit
- Toward the crew as suddenly once again there's the blinding
white light. The plane shudders and lurches, then the CAMERA MOVES
DOWN so that it's shooting toward the faces of the two pilots.
Behind them we see the other crew members as they look at one another
and behind them the flight deck door opens and Jane enters, her
face stricken.
- Jane
- Look,
I know you've got your hands full...but somebody get on the pipe.
I've got at least three people close to hysteria and-
CUT TO:
- 87.
Close shot Craig
- As his eyes go wide.
- Craig
- Skipper,
we made it. We're back! Look!
CUT TO:
- 88.
Shot through window off the wing
- Down below is the skyline of New York, its tall spires shooting
up to the sky.
- 89.
Reverse angle looking through windshield
- Into the cockpit as the faces of the crew members take on a
look of total relief.
CUT TO:
- 90.
Int. First class cabin
- As suddenly the loud speaker comes on. PAN SHOT AROUND THE
FACES OF THE PASSENGERS during ensuing announcement.
- Farver's
voice
- Ladies
and gentlemen, this is Captain Farver. We had some momentary difficulty
back there, but as you can see we're now over New York and we should
be landing in just a few minutes. Thank you.
There's a click as the loud speaker goes off and the passengers show
vast relief and smile back and forth at one another.
CUT TO:
- 91.
Two shot Jane and Paula in the galley
- As Paula closes her eyes and leans against Jane in relief.
CUT TO:
- 92.
Int. Cockpit full shot the area
- Farver
(over his shoulder to Wyatt)
- How
about Idelwild?
- 93.
Close shot Wyatt
- Fiddling with radio.
- Wyatt
- Nothing
doing. Our VHF is still out.
- Farver
- Maybe
Idlewild's is too. Try using high frequency.
- Wyatt
- I
did already, Skipper. Nothing from Idlewild.
- Farver
- How
about LaGuardia? Keep using high frequency. Somebody should hear
us.
- 94.
Different angle Wyatt
- Wyatt
(into mike)
- LaGuardia,
this is Trans-Ocean 33. LaGuardia, Trans-Ocean 33.
Suddenly he gives out with a big, broad smile as suddenly from the
radio the metallic voice of the control tower is heard.
- 95.
Pan shot around the cabin
- As each crew member cheers, claps and they slap each other
on the back. Wyatt holds up his hand for silence then goes back
onto the mike.
- Wyatt
- This
is Trans-Ocean 33, LaGuardia. We're on the northeast leg of the
LaGuardia range and both our ILS and VOR appear inoperative. Request
radar vector to Idlewild ILS.
- Voice
- What
are you, a wise guy? You'd like what?
- Wyatt
(sobering considerably)
- A
radar vector to Idlewild ILS.
- Voice
- What
flight did you say this was?
- Wyatt
(very tense)
- Trans-Ocean
33. Come on, LaGuardia, quit fooling around. We're low on fuel.
- Voice
- Trans-Ocean
Airlines? What kind of aircraft is this?
- Wyatt
- This
is Trans-Ocean 33. A Boeing 707 and we...
- Voice
(interrupting)
- Did
you say a Boeing 247?
- 96.
Different angle Farver
- As
he, exasperated, plugs in his own mike.
- Farver
- Lemme
handle it! LaGuardia, this is a Boeing 707, don't give us any of
this 2-4-7 jazz. You're only about twenty years behind the times.
This is a 707, LaGuardia. A jet. Four big, lovely Pratt Whitney
turbines, only they're getting hungry. We're low on fuel and all
we want is a radar vector to Idlewild. Now do you have us in radar
contact or don't you?
- Voice
(after a pause)
- I
don't know who you guys are, but we don't know anything at all
about radar or jets or anything else. But if you're really low
on fuel, we'll clear you to land here.
- 97.
Pan shot over to Craig
- Who's consulting an approach chart. He leans over to Farver.
- Craig
- Captain,
their longest runway is less than five thousand feet. Should we
take a chance?
- Voice
- Trans-Ocean
33, you're cleared to land on Runway 22. Altimeter two-nine-eight-eight,
wind southward 10 miles per hour. The captain is to report to the
CAA office immediately after landing.
- Farver
(into mike)
- Roger.
We'll stay in touch.
- (he
takes out the plug then suddenly looks off into space, turns to
the others)
- CAA?
Why they haven't called the Federal Aviation Agency CAA in-
- (then
he turns to Craig)
- We'll
bring her down. It'll be like landing in a phone booth, but...
Hatch, who is standing up between his seat and the two pilot's chairs,
suddenly points out the window. His eyes bug.
- Hatch
- Captain,
circle again, will you?
- (a
pause)
- And
then look!
CUT TO:
- 98.
Film clip of 707
- Banking in a turn then leveling off.
CUT TO:
- 99.
Int. Cockpit
- As the entire crew is looking out toward the left wing. ZOOMAR
INTO THEIR FACES as they react in numb shock.
- 100.
Reverse angle looking toward the left windshield
CUT TO:
- 101.
Aerial shot New York World's Fair
- The trylon and perisphere focal in the shot.
CUT TO:
- 102.
Int. Cockpit
- As a dead silence descends. Craig gulps.
- Craig
- Skipper...do
you know what that is? Do you know what-
- Farver
(hunches forward in his seat for a moment, then looks up)
- I
know exactly what it is.
- (he
looks around at the others)
- That's
the New York World's Fair.
- Wyatt
- The
New York World's Fair? But that means we're in-
- Hatch
- 1939.
We came back...we came back...but dear God...we didn't come back
far enough.
- 103.
Pan shot around the faces of the crew
- Farver bites his lips, his fingers drum on the seat sides as
his mind works and then he looks up again.
- Farver
- We
can't land.
- (he
shakes his head)
- We
can't land in LaGuardia...and we can't land back in 1939. We've
got to try again.
There's a silence amongst the crew and finally—
- Craig
(with a nod toward flight deck door)
- What
about the passengers?
- 104.
Close shot Farver
- As he takes a deep breath.
- Farver
- I
think we'd better let them in on it.
- (he
flicks on the P.A. system)
- Ladies
and gentlemen, this is your captain. What I'm about to tell you...what
I'm about to tell you is something I can't explain. Your crew is
as much in the dark as you are. But if you look out on the left
hand side of this aircraft...you'll see directly below us an area
called Lake Success. And those buildings down there aren't the
United Nations. They happen to be...they happen to be the World's
Fair.
- 105.
Pan shot down the cabin of the plane
- Past each loud speaker as the Captain's voice is heard on all
of them.
- Farver's
voice
- What
I'm trying to tell you is that somehow, some way...in some manner...this
aircraft has gone back into time and it's 1939. We're going to
try to increase our speed and go through the same sound barrier
we've already done twice before. I don't know if we can do it.
All I ask you is that you remain calm...and pray!
CUT TO:
- 106.
Ext. Film clip 707
- As once again it climbs through the overcast seeking altitude.
- 107.
Different angle of it
- As it speeds away from the camera. Over this we hear Serling's
voice.
- Serling's
voice
- A
Trans-Ocean jet airliner en route from London to New York on an
uneventful June afternoon in the year 1961, but now reported overdue
and missing and by now searched for on land, sea and air by anguished
human beings fearful of what they'll find. But you and I know where
she is. You and I know what's happened, so if some moment...any
moment...you hear the sound of jet engines flying atop the overcast,
engines that sound searching and lost, engines that sound desperate...shoot
up a flare or do something...that would eb Trans-Ocean 33, trying
to get home...from the Twilight Zone.
Fade to
black.
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