MAELSTROM II

Copyright 2006 Distant Galaxy PO Box 817 Forest Knolls CA 94933.

Digital Story Boards Part 1

by:

Jeroen Lapre'

1st draft

February 8th, 2005

Based on Screenplay

by:

M. Zachary Sherman

SEVENTH DRAFT

January 27th, 2005

Based on the Short Story
by:
Arthur C. Clarke ©1962

1. EXT. LUNAR SOUTH POLE - DAY
	From a low orbit, the lifeless grey surface of the MOON floats in the black void that is space.
	On its face, a HAIR-THIN LINE comes into focus within the lunar dust and crevasses as the moon's rotation takes us in for a better look.
	Closer now, we get a more detailed look at the line. It's a MAN MADE METALLIC RAIL, not that unlike a single MONORAIL TRACK that stretches across the astral plane towards the Moon's horizon. It's superstructure is held aloft from the surface by triangular support beams that attach to the rail by large, tubular trusses-- This is THE CATAPULT RAIL.
	On the ground-- a SIGN embedded into a slab of MOON ROCK. MOON DUST adorns it's surface, but we can clearly read-- AITKEN BASE RAIL FACILITY WAESTING H20 MINING CORP. EST. 2030 WE FOLLOW the rail down the horizon, passing massive MAGNETIC COILS that are spaced out at regular intervals, as we reach a small STRUCTURE.

2. EXT. LUNAR SOUTH POLE - LAUNCH FACILITY - DAY
	Here, at the base of what looks like a small, concrete shack, sits a small SPACE CAPSULE. But it's not quite what you'd expect-- SOUND FX/FOLEY: miscellaneous pre-flight chatter.
	This is no sparkling-new NASA prototype, this is a MUCH USED AND OLDER design. Rather square in it's design, it is triangular in shape, as if three cargo containers were welded together corner to corner. And it is definitely showing signs of it's age... Faded painted-on decals, paint chips and pits and dings from mini-meteors. Attached to it's rear panel is the capsule's PAYLOAD. Secured in hexagonal, tubular steel housings are THREE SPHERICAL TANKS. These tanks are filled with LIQUID OXYGEN, ready to be delivered to it's destination. On it's side, in faded, painted over letters, we can barely make out "FREIGHT CAPSULE F8" Like a gigantic metallic millipede, it floats secured in the mag-lev track rests on it's launch cradle, ready for flight. As WE MOVE CLOSER to the capsule, WE HEAR-- A RHYTHMIC TAPPING.

3. INT. FREIGHT CAPSULE – DAY

Maya Freight Capsule Cabin Acceleration Seat Layout Download Instructions
	Right Mouse Click on the image to the left of this text. Select Save Link Target As... Save to the above maya project path maya/scenes/ClarkeM2s1to3Sep22.m5.1.ma.gz Gunzip the downloaded file maya file to maya/scenes/ClarkeM2_AccelCouchLayout.m5.1.ma Gzip online resources for Windows: http://www.gzip.org/ Note: Mac OS X unix shell comes with gunzip command.
	Download the Maya CG Cliff Leyland G_Suit body: Right Mouse Click on the above image Select Save Link Target As... Save to the above maya project path maya/scenes/G_SuitSeated.Oct.10.1.ma5.1.ma.gz Gunzip to maya/scenes/G_SuitSeated.Oct.10.1.ma5.1.ma Import into maya/scenes/ClarkeM2_AccelCouchLayout.m5.1.ma

Strapped down and buckled securely in the SMART GEL-FILLED command chair is Hydroponics Engineer CLIFF LEYLAND, 37.	G Suit 3D Maya 6/7 model by Jon Varner.
He has strong features and a confident look about him, but today his fearful eyes and disturbed pattering give away the fact that he's uncomfortable. He has the look of a man that is trying something he's never done before; doing something for the first time. In short, he's SCARED.	Freight Capsule Cabin Camera Angles
	His green and white pressure suit soaks in the blue and yellow lights from the control panel in front of him. Over his nose and mouth, a green OXYGEN MASK is strapped to his helmet; a pinkish LIQUID flows into the mask and bubbles away from it via a clear tube. It, in turn, is connected to an apparatus attached to the seat's structure which reads-- "WARNING - OXYGENATED - FLUORINERT OUTVALVE". He shifts uncomfortably in his seat as he stops his nervous tapping. Slowly, he looks around, taking in his coffin-like surroundings-- This capsule is SMALL.
	The main flight controls are a small, light-button panel in front of the main command chair, made up of only twelve or thirteen buttons surrounding a main information screen, right below a main viewscreen. Pipes and conduits snake over his head and back through the rear bulkhead that has LARGE WELD MARKS that have closed this section from the cutaway sections of this converted cargo hauler. VELCRO PANELS line the blank parts of the walls for quick fastening of items. RUNNING LIGHTS are on and line the roof, casting a cool, aqua glow on the cockpit.
	Suddenly, the light sound of a HUMMING comes over the cabin as the computer screen BLINKS ON. Across it, in green letters, massive amounts of computations as the computer goes through a boot-up check. All goes quiet.
	C.U. hand tapping acceleration couch armrest.
	A beat, then-- Cliff jumps out of his skin as out of the LOUD SPEAKER-- LAUNCH CONTROL (V.O.) Good afternoon, Mr. Leyland. Alan Crenna out here at Launch Control. Just wanted to let ya know we finally got a "go" from the higher-ups at Central. Sorry about the delay, but ya gotta admit, was a bit of an unusual request. Don't get many people hitchhiking on these D-1 Freight capsules nowadays. (quietly) You're a braver man than me... Settling down a bit, Cliff wriggles in his chair. A moment passes, then a look of concern on his face. He strains to sit up, pulling against the restraints. Flailing arms reach up to the ceiling. Here his hand finds a DUFFEL BAG.
	Hoisting it down, he undoes the metal buckles, unzips the flap and reaches inside.
	Rummaging around, Cliff finally comes up with a SMALL GLASS BOTTLE. Inside it, white and grey powder floats. He turns the bottle in his hands with a visible sigh of relief. Reaching over, he velcros it to the wall next to him. Now visible on the bottle is it's MASKING TAPE LABEL. On it, written in black crayon--
	BRYAN'S MOON DUST - DON'T FORGET, DAD! An electronic CLICK and the lights in the cabin CLICK OFF.
	LAUNCH CONTROL (V.O.) Flight's given us "all green" on the boards and we're cleared for departure. Ten more seconds, a few bumps and you'll be ridn' the liquid oxygen right up to L-1 Station. Have a great thanksgiving Mr. Leyland. (a beat) CP-01 we are go for launch. T minus ten, nine, eight-- Across the computer display, Cliff reads-- LAUNCH IN T - 7 (counting down with Launch Control)
	He watches the screen intently. CLIFF'S HANDS They grip the arms of the command chair. A slight CREAKING OF METAL and an ELECTRONIC WHINE ramp up.
	LAUNCH CONTROL (V.O.) --six, five, four, three, two, one!

	Click image to the left for Freight Capsule Launch Sequence Animatic Exterior Capsule on launch Cradle accelerates from resting.
	The G-FORCES SLAM Cliff back into his chair SO HARD, his GOLD FACE SHIELD FLIPS DOWN!
	Reverse angle exterior capsule accelerating and leaving launch cradle.
	COMPUTER SCREEN Close up of control panel showing L1 target velocity, capsule velocity, acceleration in MPS, and Gs, rapidly climbing.
	ELECTROMAGNETIC COILS ENGAGED L-1 ORBIT INTERSECTION IN T-5 SECONDS And the G-FORCES tick up rapidly-- 3, 7, 13, 20! Pressure suit engaging, it begins to inflate, pressing the blood in his body back to where it belongs.

4. EXT. LUNAR SOUTH POLE - CATAPULT RAIL - DAY
	The Capsule GLIDES RAPIDLY DOWN the rail, floating on a bed of electromagnetic energy.
	Each time it passes through one of the magnetic hoops, inset OCTAGONAL LIGHTS on the rings GLOW BLUE with electrical energy and increases the capsule's velocity EXPONENTIALLY! Capule POV looking down track

6. EXT. LUNAR SOUTH POLE - CATAPULT RAIL - DAY
	RED LIGHTS ILLUMINATE along the rings as the capsule rockets down the railway catapult. No longer does it pick up speed as it shoots through the magnetic hoops, but rather, it SLOWS to a coast, jarring the capsule.*draft 7 fix

7. INT. FREIGHT CAPSULE - DAY
	JARRED FORWARD, the restraints are the only thing keeping Cliff from flying from his seat and smashing against the control console, that is--

8. EXT. LUNAR SOUTH POLE - CATAPULT RAIL - DAY
	--until the capsule reaches the next hoop, where like a bullet out of a gun, the capsule ACCELERATES AGAIN!

9. INT. FREIGHT CAPSULE - DAY
	SMASHED BACK against his seat, CLIFF is almost knocked unconscious as the sudden burst of speed takes him completely off guard! One more time the capsule does this weird stop and go motion until, finally--

10. EXT. LUNAR SOUTH POLE - CATAPULT RAIL - DAY

When the capsule enters Section Six of the Launch Rail, the ACCELERATOR RING LIGHTS return from RED to BLUE, indicating that ACCELERATION has returned! ANOTHER ANGLE Looming off in the distance, like a brick wall at the end of a one-way street-- LAUNCH GATEWAY ZERO The last bit of metal rail points towards the black curtain of space. THE CAPSULE --heads straight for it like a bat out of hell! In a blur, the capsule FLIES RIGHT OFF THE RAIL and out towards the heavens!

11. INT. FREIGHT CAPSULE - DAY
Not using oxgenated liqjuid as space consultant said you can't get it out og your lungs again.	Suddenly the g-forces begin to drop and the numbers on the computer stop their count and FLASH-- 7513.5 kph Nervous as hell, Cliff, the g-forces working against him, struggles to hit a button on his wrist computer! Finally-- Cliff pushes a button on one of the arm rests. CLICK! Cliffs arms are released from their restraints. A small graphic on the control panel on his arm illuminates. It reads-- OXYGENATED LIQUID EXTRACTION INITIATED - PLEASE STAND BY First a WHIRLING then a SUCKING SOUND fills the capsule. AIR BUBBLES move towards his mouth via the clear tube. As the mask comes away from his face, the g-forces SLAMS it against his helmet. The blood pressed back where it belongs, is able to move freely. In a rush, he RIPS OFF his helmet, rips off the fluerinert mask, and pulls the tube out of his lungs...
	Coughing and hacking, several globules of Flourinert splat out of his mouth and across the zero-g space of the cabin. Frantically, Cliff activates the main VIEW SCREEN-- A beat as he looks on, shocked-- BLACK AND STARS --just like it should be.

Shots 1_3_5a, 2_3a_2a, 3_3_5a Layout and Cameras Download Click above image to download gzipped maya 5 file. Contains freight capsule cabin seat surround and cameras.	Create a new Maya Project for these shots Launch maya File->Project->New... Change the name to C_M2_1-3-5a_2-3a-2a_3-3-5a Click Use Defaults button at the bottom and Accept File->Project->Set->[Select above new project] Maya Layout Download Instructions Right Mouse Click on the image to the left of this text. Select Save Link Target As... Save to the above maya project path maya/scenes/ClarkeM2s1to3Sep22.m5.1.ma.gz Gunzip the downloaded file maya file to maya/scenes/ClarkeM2s1to3Sep22.m5.1.ma Gzip online resources for Windows: http://www.gzip.org/ Note: Mac OS X unix shell comes with gunzip command. Download the Maya CG Cliff Leyland G_Suit body: Right Mouse Click on the above image Select Save Link Target As... Save to the above maya project path maya/scenes/CliffGsuitBlockScn17T2B_Jun23.m5.1.ma.gz Gunzip to maya/scenes/CliffGsuitBlockScn17T2B_Jun23.m5.1.ma Import into maya/scenes/ClarkeM2s1to3Sep22.m5.1.ma Note: This contains animation for another shot. Delete the animation key frames, and pose/animate appropriately for these shots.
LAUNCH CONTROL (V.O.) (through radio static) Mr. Leyland?! Mr. Leyland!?!? CLIFF What the hell was that? What is going on?	Instructions to Download Quicktime Movie File and Convert to Sequence of images We will be using the qt movie file or the sequence of images, as an animated background for your maya camera image plane. This will allow you to match-a-mate the cg body to the bg image in the camera. Note: some versions of maya on some platforms allow you to use a qt movie file. Most situations, you need to convert them to a sequence of images. Right Mouse Click on the image to the left Select Save Link Target As... Save to your local computer as: shot1_3_5a.crop.mov For windows and linux, you will need to convert the movie file to a sequence of iff or jpg frames. The file sequence path/naming convention is: maya/sourceimages/shotname.iff.<frameNumber> Modify each camera->Environment->imagePlane->image Name to point to your local copy of the movie or sequence of frames. Note: The above example is for a different shot, but the principle is the same. Turn on the Use Image Sequence button Try scrubbing your timeline. You should see the image in your 3d view animate. View through the hdAsp1_78_shot1_3_5a camera. Set the frame range to the number of frames in the 1-3-5a footage. Keyframe match-amate the cg body to actor Chuck Marra's performance in the blue screen footage. Save out as maya/scenes/ClarkeM2Shot1-3-5a.m<version>.1.ma Where <version> = the version of maya you are using. Make sure you save to ascii format, not binary.
What the hell...? But-- Hands shaking like a leaves in a high wind, he desperately looks over to the command chair and gathers up a head mic. He plugs it into a box on his belt. Throat still sore, Cliff coughs up the last of the flourinert as he struggles to breath and clear his throat of the liquid. Frantically, he speaks, a man on the edge of a nervous breakdown. CLIFF Why can't I see you? What was that? What's going on?	Follow the same instructions for the image to the left as above. View through the hdAsp1_78_shot2_3a_2a camera. Set frame range accordingly Keyframe match-amate the cg body to actor Chuck Marra's performance in the blue screen footage. Save out as maya/scenes/ClarkeM2Shot2-3a-2a.m<version>.1.ma
LAUNCH CONTROL (V.O.) We've lost your video feed but-- Are you injured? CLIFF (softy) No... LAUNCH CONTROL (V.O.) Are you hurt?! CLIFF No, NO! I'm fine! What happened?!	Follow the same instructions for the image to the left as above. View through the hdAsp1_78_shot3_3_5a camera. Set frame range accordingly Keyframe match-amate the cg body to actor Chuck Marra's performance in the blue screen footage. Save out as maya/scenes/ClarkeM2Shot3-3-5a.m<version>.1.ma

CLIFF

What the hell...? But--

LAUNCH CONTROL (V.O.)

(through radio static)

Mr. Leyland?! Mr. Leyland!?!?

Hands shaking like a leaves in a high wind, he desperately looks over to the command chair and gathers up a head mic. He plugs it into a box on his belt.

Throat still sore, Cliff coughs up the last of the flourinert as he struggles to breath and clear his throat of the liquid. Frantically, he speaks, a man on the edge of a nervous breakdown.

CLIFF

Why can't I see you? What was that? What's going on?

LAUNCH CONTROL (V.O.)

Christ all-mighty, you're alive! Thank God!

CLIFF

Why can't I see you?

LAUNCH CONTROL (V.O.)

We've lost your video feed but-- Are you injured?

CLIFF

(softy)

No...

LAUNCH CONTROL (V.O.)

Are you hurt?!

CLIFF

No, NO! I'm fine! What happened?!

LAUNCH CONTROL (V.O.)

We're checkin' on a few things right now, Cliff, give us a couplea' minutes to sort out the data and we'll get right back to ya.

CLIFF

But--

LAUNCH CONTROL (V.O.)

We're glad you're okay. Out.

The radio goes dead.

Looking out into the heavens, Cliff slumps back into the gel cushion. He shakes his head as beads of sweat float off of his forehead.

CLIFF

(frustrated)

But I'm already in space...

The curtain of stars in front of him on the viewscreen has almost a hypnotic effect on him as he contemplates his future.

The radio comes on again. This NEW VOICE is much more curt, more commanding. He is VAN KESSEL.

VAN KESSEL (V.O.)

Mr. Leyland? This is Robert Van Kessel. I'm the Chief of Maintenance for Space Vehicles Division. I'm also Rescue and Evac Supervisor here at Launch Control.

CLIFF

Yes sir?

VAN KESSEL (V.O.)

We figured out what happened... Looks like when you went through section five of the track, one of the electromagnetic hoops shorted out. You tripped a circuit breaker which lowered your take-off speed to 7513.5 kilometers per hour.

CLIFF

I'm, I'm sorry, Mr. Van Kessel, I'm a hydroponics engineer, not an astronaut. I'm not sure what that means...

VAN KESSEL (V.O.)

It means you didn't reach your escape velocity.

There's a beat as his voice goes a bit soft.

VAN KESSEL (V.O.)

You were about a thousand kilometers too slow.

CLIFF

(shocked)

Too slow for what? I'm already in space!

VAN KESSEL (V.O.)

(beat)

Mr. Leyland, you're in an unstable orbit that's already begun to decay. We've got about five hours until your capsule completes one orbit--

CLIFF

Then?

VAN KESSEL (V.O.)

Well...

A LOUD BEEP from his wrist computer. He slowly twists his wrist towards his eyes. A stark black and white 3D graphic of the moon illuminates his face. Circling it, the freight capsule - it leaves a small dotted trail behind it denoting it's trajectory. It does one complete orbit then CRASHES INTO THE SURFACE. His mouth goes wide.

CLIFF

(quietly)

Oh my God...

Cliff can't believe it. He's going to die.

His eyes move along his the cabin of the pod-- now his coffin-- looking for a solution; a way out.

Looking over to his right, he sees-- THE GLASS JAR --for his son.

Cliff tries to keep his composure.

VAN KESSEL (V.O.)

Cliff, listen to me--

The voice is strong again, commanding in it's tone.

VAN KESSEL (V.O.)

--no one here is willing to let this end that way. The EMC Rail may notta' been designed to carry people, but it's gonna be okay. We've alerted all the support teams and we've got everybody down here working the problem. Just do what you're told when you're told to do it and everything should come out just fine. You sit tight up there and remember--

He looks up, listening intently to Van Kessel's words.

VAN KESSEL (V.O.)

--we're going to get you home. You understand me?

CLIFF

(a bit shaken)

Yes sir.

VAN KESSEL (V.O.)

Good. We-- Hang on.

There's a bit of mumbling over the radio as if someone is talking to Van Kessel, his hand over the microphone. Finally--

VAN KESSEL (V.O.)

Cliff, Procedures' informed me that we're going to need to fire the main course correction jets from down here. We're pretty sure this should push you into a stable orbit allowing us to send someone up to intercept you.

A huge sigh of relief as Cliff eases back into the chair.

CLIFF

What do I need to do?

VAN KESSEL (V.O.)

Just, just hang on.

Closing his eyes, Cliff holds onto the arms of the chair, waiting for a jolt.

VAN KESSEL (V.O.)

(beat)

In T minus 5, 4, 3, 2, 1--

12. EXT. LUNAR EQUATOR - CAPSULE - DAY

The capsule continues to float in a high orbit above the Moon's equator as nothing happens.

As the capsule comes closer by, there is a massive WOUND in the side of the space craft. The port booster jet is crumpled into a fist-sized hunk of metal.

13. INT. FREIGHT CAPSULE - DAY

He pops one eye open and looks around.

Nothing has changed.

CLIFF

(anxious)

Nothing. Nothing­! What do you recommend now?!

VAN KESSEL (V.O.)

(terse)

Recommend that you hang on while we work the numbers. Launch Control out.

CLIFF

(desperate)

Don't cut me off! Get me out of hear! ...get me home...

Frustrated, he SLAMS his hand against the side of the capsule.

DISSOLVE TO:

14. EXT. LUNAR EQUATOR - CAPSULE - DAY

Moving around the dead planetoid floats the capsule. As it comes over the horizon, a brilliant sight confronts us--

THE EARTH RISE

It is a three-quarter rise, the glistening of the sun off of the polar caps and the reflective blue oceans are almost too bright to look upon. The shadow line cuts deeply across the small, green specs that are the Hawaiian Islands.

15. INT. FREIGHT CAPSULE - DAY

Turning his wrist over to his face, Cliff activates his wrist computer. He thumbs the buttons until he comes across the encyclopedia entry on the Moon. He scrolls through the pictures and facts about the surface as he contemplates the next three hours of his life.

He speaks to himself. His tone is somber, defeatist. He has come to grips with the fact that he's going to die.

CLIFF

(reading)

"Craters Alphonsus and Ptolemaeus in the central region of the moon."

Wonder if they'll name a crater after me? Probably be too small to put on the map. Crater Leyland, diameter; insignificant-- Just like the man.

VAN KESSEL (V.O.)

You're on a VOX microphone, Cliff--

Rolling his eyes as he flops his head against the chair, Cliff runs his hands through his hair; he'd forgotten.

CLIFF

I'm sorry, I'm just tired--

VAN KESSEL (V.O.)

Now you listen up and listen good. We're doing everything we can down here to save your bacon but there's no way we can push through it if the man we're trying to rescue has convinced himself he's gonna die.

He rubs his temples.

CLIFF

I know, I'm sorry.

VAN KESSEL (V.O.)

I know how easy it is to let these thoughts grab hold of you and spin out of control, I really do. But you can't let 'em. I need you to reach down and find what it is that's gonna keep you going and hang onto that-- tight-- And don't let it go. You're not alone, Cliff, but I can't do it all for you. I need you to fight. I need you to want to live.

CLIFF

(beat)

I've, ah, I've been thinking about that and I need you to do me a favor.

VAN KESSEL (V.O.)

Name it.

CLIFF

I need you to open a private channel to my house. I, ah, I need to talk to my wife.

A beat.

VAN KESSEL (V.O.)

Understood. What's the number?

CLIFF

309-1973. Africa, The Sahara.

VAN KESSEL (V.O.)

Copy that, Cliff. Give us a second to route it through...

The capsule goes deadly quiet. He flips on the overhead speakers from the console.

Suddenly, a groggy female voice echoes over the headset. The quality is tinny, like she's on a speaker phone as it echoes into the small compartment.

MYRA (V.O.)

Hu-- Hello?

EARTH OPERATOR (V.O.)

Mrs. Leyland? This is the Waesting Mining Corp. relay Operator in Kidmanyo, Somalia. I have a call from your husband.

MYRA (V.O.)

(sleepy)

Huh, wha--? He's not home rig--

But the operator CUTS HER OFF.

EARTH OPERATOR (V.O.)

No ma'am. A call from your husband, ma'am. Please remember there's a two second delay in transmission.

CLIFF

Myra?

MYRA (V.O.)

Cliff? Cliff, it's late and I can't see you...

He smiles from ear to ear...

CLIFF

Yeah, the, the video phone's on the fritz, but ah, at least we've got voice--

MYRA (V.O.)

Cliff...? Where are you? Are you in Somalia--

CLIFF

No, sweetheart, I'm not, I'm--

MYRA

--because I thought you weren't coming home until right before Christmas.

CLIFF

No, I'm not even to L-1 Station yet.

MYRA (V.O.)

L1? What happened to the shuttle flight to Johannesburg?

CLIFF

Thought I'd surprise you guys and come home early, you know, for, ah, for Thanksgiving, but--

She's still half asleep, but she can tell by the tone in his voice that he's holding something back.

MYRA (V.O.)

What's the matter, sweetheart?

CLIFF

(a beat)

I'm, ah--

His voice CRACKS. Tears well up in his eyes.

CLIFF

--I'm in big trouble.

A moment of silence. Sounds of shuffling, covers being thrown aside, footsteps on cold, wooden floors then a clattering of plastic on plastic. Sounds of a receiver being picked up off of the cradle.

Voice sharp and crisp, Myra is now WIDE AWAKE.

MYRA (V.O.)

What do you mean, "trouble"? Cliff, what's going on?

CLIFF

I didn't get enough speed to make the slingshot to Lunar One Station.

 I'm in an unstable orbit around the moon--

MYRA (V.O.)

Wait. Are you telling me you took the freight capsule?

CLIFF

(quietly)

Yeah...

MYRA (V.O.)

Even after you said you wouldn't!?

CLIFF

The lunar shuttle is a lot of money Myra and I thought, with Christmas coming and with our debt the way it is...

MYRA (V.O.)

You know, things might be tight right now, but that doesn't mean you risk your life over our finances!

CLIFF

Look, I don't want to argue, I've got something really important to tell--

MYRA (V.O.)

I can't believe you'd do something like this, I mean--

CLIFF

I'm not sure if I'm going to--

MYRA (V.O.)

--what happened to "no, it's a bad idea, we'll make up for Thanksgiving next year"? And "yeah, I agree the shuttle's safer, don't worry I won't do it"?!

CLIFF

Myra...

MYRA (V.O.)

I don't understand why you've got to do these types of things behind my back when--

CLIFF

MYRA!

Silence. He takes a moment and draws in a breath to steady himself.

CLIFF

I've, ah, got about five hours before I, ah... Before I crash. Into the moon.

On the other end of the line, she's fighting to be strong, composed. Supportive. But she's breaking down, not able to control her tone. She's quietly weeping.

MYRA (V.O.)

Oh my God, Cliff...

CLIFF

But they-- they're working on it.

MYRA (V.O.)

That is not going to happen! You hear me? They will get someone out there to help you!

They'll get you home! And when they do, I'm gonna kill you myself!

CLIFF

(lying)

I'm sure this kind of thing happens all the time. I'm sure they've got plans, contingencies...
Heck, they've probably got a ship on it's way up to me right now--

MYRA (V.O.)

I'm sure they can, honey. I know they can. You just need to be strong--

CLIFF

I know, Myra.

But she can't hold it in anymore. She begins to sob.

MYRA (V.O.)

No, I'm serious! You can't leave me! I need you, I love you so much!

CLIFF

Don't worry, they'll get to me in time. I just, just wanted to talk to you.

MYRA (V.O.)

I'm here, Cliff, I'm right here...

He removes his glove and slowly reaches above his head, caressing the loud speaker. Trying desperately to touch his wife through the tiny squawk.

CLIFF

(clears his throat)

And I want to talk to the kids.

MYRA (V.O.)

Sure... I'll get them.

He hears her begin to walk away.

CLIFF

Myra?

MYRA (V.O.)

Yes?

CLIFF

Don't-- Don't tell them anything. Okay?

MYRA (V.O.)

Okay, Cliff, okay...

Sounds of the phone hitting the dresser. Feet doplering off.

Suddenly all is QUIET.

He looks at his hands--

They're shaking.

He can't lie to his wife very well. Luckily, he doesn't have to look her in the eye or she'd see his bravado is all a veneer.

The footsteps return, but there are MORE OF THEM.

Finally--

BRIAN (V.O.)

Hi Dad.

BRIAN, 10. Cliff's SON. He's got a preteen crack to his young voice, but we can tell he's groggy, sleepy.

Cliff smiles. He breaths deeply. Clears his throat.

CLIFF

Hey buddy. How you doin'?

BRIAN (V.O.)

I'm fine...

CLIFF

Yeah? Where's your sister?

SUSAN (V.O.)

Mommy, I don't wanna, I'm sleepy...

MYRA (V.O.)

Say hello to your daddy, Susan...

Cliff, still trying to keep his strong emotions in check, accidentally lets out a small laugh. She is so cute, he thinks. Much younger than Brian is Cliff's 5 year-old daughter SUSAN. She is definitely NOT AWAKE YET.

SUSAN (V.O.)

Daddy!? Hi daddy!

CLIFF

Hi, sweet-pea.

SUSAN (V.O.)

When are you coming home?

CLIFF

Soon, sweet-pea, really soon. I just wanted to say hi and tell you how much I miss you guys.

SUSAN (V.O.)

I miss you too.

BRIAN (V.O.)

Did you remember the moon dust you promised?

Reaching over, Cliff removes the glass jar off of the wall, shaking the gray-brown dust, allowing it to float around inside like a snow-globe.

CLIFF

Yeah, I got it right here.

BRIAN (V.O.)

Awesome! I can't wait until Pat sees it! He'll flip! And thanks for the pictures you emailed from the Apollo Memorial, they were cool! Is the flag really still there?

CLIFF

Yep, it's still there.

He clears his throat, mustering up all of his courage.

CLIFF

Look, kids there's, ah, something--

SUSAN (V.O.)

Can I go back to bed now?

MYRA (V.O.)

Susan!

His lip quivers as he holds in his horrible news. Tears well up in his eyes.

As he blinks, they break off and float away from his face in the zero-g atmosphere of the capsule. His eyes close.

CLIFF

Sure sweat-pea, just do daddy a favor, okay?
I heard about your last report card, especially about your behavior in Mrs. Johanson's class. So be a good girl and mind your mom, okay?

SUSAN (V.O.)

Okay.

CLIFF

Do what she says. That goes for you too, okay Brian?

BRIAN (V.O.)

Yes sir.

CLIFF

Okay, go back to bed, Dad's gotta go. I love you both very much.

Just please, always remember that. Dad loves you more than anything, okay? More that his job, more than, more than--

SUSAN (V.O.)

More than mommy?

He laughs through his tears.

Copyright 2006 Distant Galaxy PO Box 817 Forest Knolls CA 94933.