From the Earthn to the Moon and Back Again
Bob - a friend of Jeremy and Jemima (to use the word rather generously). The long-suffering cameraman. Unless the script says otherwise, he doesn't appear on screen. When he speaks, he mutters, as though he's trying not to exist picked up by the camera'due south microphone.
Opening Titles 
Jeremy and Jemima are sitting on a sofa in their living room. Jeremy looks uncomfortable; he doesn't really like beingness in front of a photographic camera. Jemima looks relaxed and confident. Bob (Off-camera) Action. Jeremy (Taken aback) Oh - right. (Pause. Deep jiff.) Hello everybody. My name is Jeremy Nettlecrouch, and this (indicates Jemima) is my wife Jemima. Jemima Hello. (She gives a piffling wave.) 
Jeremy Now, in 1865, the science fiction writer Jules Verne published a book called From the World to the Moon, in which he sent his intrepid explorers on a fantastic journeying from the World to the Moon. And exactly 178 years later, we - that's Jemima, myself and our good friend Bob the cameraman - er, say hello, Bob... Bob (apathetic) Hullo. (He waves his paw in front of the photographic camera.) Cut to midshot of Jeremy. Jeremy Er - yep - 178 years later, nosotros fabricated the same epic journey in reality. Only, er, we went there for our honeymoon, oh, and to see the rocks, and, er, then we came back again. But anyway, while we were there, nosotros made a piffling moving-picture show, and, er, this is information technology. (Back to two-shot. Jeremy has a niggling gadget i hand - my Serial five will be fine - which is projecting a small-scale hologram in a higher place itself. This is a kind of preview of the shuttle. He is poking a finger effectually in the hologram to dispense it. He is frantically trying to end information technology before Jemima stops talking.) Jemima Our journey started from the Mboya Spaceport in Kenya, where nosotros boarded the shuttle to make the trip into orbit. We weren't immune to use the camera there, merely Jeremy put together this sequence on the computer to testify yous what information technology was like. (she turns to him) Is it ready? 
Jeremy (relieved) Aye - but in fourth dimension. Close-up of Jemima. Jemima (Looking at Jeremy's gadget.) It goes faster if yous wind the handle, you know. Information technology's high time y'all got yourself a encephalon implant, instead of waving your hand over a hologram like some medieaval magician. Back to ii-shot. The hologram is now a freeze frame of the first shot of the shuttle docking sequence. Jeremy (Turning to her. Hurt.) It does the job, doesn't it? I've had this computer for twenty years, and I'm non going to go sticking a bit of wire in my ear but because this is a chip dull. 
He waves his paw through the hologram, moving it towards the camera. The hologram grows and moves out from Jeremy's computer to make full the screen. Deliquesce into sequence of shuttle ascending into orbit and docking with spaceliner. 
Jemima (voiceover) The shuttles carry fifty-four passengers and eight coiffure. For the first few minutes, you counterbalance about three times as much equally normal. Simply then the engines switch off, and you're weightless for the rest of the flying. 
Jeremy (voiceover) 2 1000 kilometres in a higher place the Globe, we docked with the spaceliner Artemis, which was to accept the states to the Moon. The first thing you notice as you approach Artemis is its enormous size. It's by far the biggest man-made thing in space. Information technology dwarfed our shuttle, as you can see in this shot, where the shuttle's almost too pocket-sized to see as it comes in to dock. 
They plow to await out of the window. Simply earlier this point, the Earth moves out of view. For thirty seconds, zip happens apart from the motion of the stars. Jeremy You lot sure it was this window? Jemima Observation Deck Iv, the sailor said. And this is Ascertainment Deck Four, or I'thou a wet kipper. (pause) Jeremy He might've been lying. Jemima And why in the name of Gates would he practise that? Jeremy Well, if I had passengers asking me all day where they could see the Earth going past, I'd be tempted to misdirect a few of them. Jemima I'one thousand sure yous would, but that's because y'all're a misanthropic git. Jeremy (irate) Me? Misanthropic? You - y'all - ! 
Bob (weary) Oh, requite over moaning - look, here information technology comes at present. Certain plenty, the Globe comes into view. All three are silent as it moves upwards the screen. When it's roughly in the middle: Jemima (softly) Wow... 
Bob Yeah, very pretty, I'k certain. Now can we get? My bombardment'south most to pack up. Dissolve into shot of Artemis firing its engines and beginning to move. Jemima (voiceover) After a couple more days in Earth orbit, Artemis fired its engines and began the five-twenty-four hours, 4 hundred thousand kilometre journeying to the Moon. 
Map (preferably a world) of the nearside of the Moon, with some labels and graphics showing settlements and (maybe) political divisions. As Jeremy says "New Tenerife" a large hand moves onto the screen, holding a sign with those words on it. Some other hand moves in from the opposite side, pointing to the precise location. Jeremy (voiceover) When the ship arrived in lunar orbit, we boarded a shuttle downwardly to the Moon. Nosotros stayed in New Tenerife, a resort on the edge of the Mare Imbrium, in the foothills of the Lunar Apennines. 
Jeremy and Jemima in a kitchen. This is supposed to be the place where they're staying. My kitchen will probably exist fine for this. Jeremy is standing nearby, throwing something up in the air and catching it, amazed by the low gravity. Jeremy is on the left of the picture, so his legs are hidden backside the closet. Jemima is on the right of the film. Jemima (spreading her artillery to indicate the environment) Well, nosotros've arrived at our apartment at concluding. Equally you lot can see, we're self-catering. It's a wee bit cramped for iii people, and at that place's a sign in the bath that says water is limited to thirty litres per day, but overall, information technology's non bad for five thousand a week. 
Jeremy misses whatever it was he was throwing. It hits the flooring and bounces. Jeremy (looking at Jemima) How much? Jemima (ignoring him) I estimate nosotros'll accept to take our showers on different days. 
Jeremy (hopeful) Or we could take them together. Jemima turns to face him, grabs something from the worktop, and makes equally if to striking him. He flinches, pushing himself up against the wall. 
Jeremy (hastily, putting his easily up in self-defence) But a idea. View of the resort from the roof of a tall building. The resort is nether a dome, maybe a kilometre across. The lunar landscape is visible across - a wide, flat evidently with occasional rocks. The photographic camera pans across the scene. At the starting time of the pan, there are mountains in the distance, but these soon disappear. One mount is noticeably taller than the others. Partway through the pan, we see a drove of domes farther off. A road leads from this dome to 1 of the others. The camera zooms in on them. The shaking gets worse equally the camera zooms. The photographic camera stays on the domes for a few seconds, and then zooms dorsum out to resume the pan. A few seconds later, it stops and then reverses. It goes past the domes and then zooms in on the alpine mountain. 
Jeremy (voice-over) This is the view from the roof of our hotel. Jemima (as the camera zooms in on the other domes) That's Armstrong, the beginning city to exist established on the Moon, and still by far the biggest. (Click here for a larger version of this movie.) 
Jeremy (as the camera zooms in on the mountain) There's Mount Alice, one of the tallest mountains in the Lunar Apennines. The rocks effectually it are mostly granite, but there are some brecciated exotics as well. Two-shot of Jeremy and Jemima sitting at a table outside a buffet, eating. (McDonalds will do nicely.) Bob is sitting opposite them, his back to the photographic camera. The camera is on a tripod. Other tables are in the background. 
Jeremy We've found this delightful picayune cafe not far from the market, serving accurate twentieth century American cuisine. Jemima It's a minor, but well-established, family business, and was actually one of the first cafes to open on the Moon. Every bit Jemima says "family business," cut to a long shot of the same scene, showing the McDonalds logo. If possible, there should be no sky visible in this shot. 
Dissolve into various drawings and photos from the NASA archives. Jemima (vocalism-over) The following day, we decided to continue a mystery tour. This turned out to be the landing site of one the Apollo missions. Bob couldn't come up, unfortunately. We think the American cuisine disagreed with him. He didn't trust the states with his camera, and then we hired a notwithstanding camera for the trip. 
Dissolve to G69-47-6961_a.jpeg (lunar lander). Jeremy (phonation-over) This is the spaceship which the astronauts landed in. 
Deliquesce to G69-40-5927_a.jpeg (astronaut in front end of lunar lander). Jeremy (voice-over) This is Jemima standing in front of the spaceship. 
Dissolve to G69-xl-5902_a.jpeg (astronaut by landing strut of lunar lander). Jeremy (voice-over) This is Jemima looking at role of the spaceship's landing gear. 
Dissolve to G69-0684_a.jpeg (astronaut facing camera). Jeremy (voice-over) This is Jemima looking at the landing gear from another angle, merely also looking at a rather interesting rock which was behind me. 
Equally Jeremy is speaking, Bob puts his hand effectually the forepart of the camera. He is holding a piece of paper which reads: "And this is Jeremy, trying to chat up a very bonny rock!" The paper completely blocks out the flick of the astronaut. 
Jemima (bursts out laughing) Jeremy (flustered, trying to exist believing) Bob! The newspaper stays where it is. Bob also begins laughing, and pulls away the paper to reveal a two-shot of Jeremy and Jemima. Jemima is doubled up with laughter. Jeremy is looking at her, doing his Queen Victoria impression. ("We are not amused.") Jeremy Now isn't that pathetic. My wife is in hysterics considering our cameraman has decided to play a sad applied joke on united states of america. 
Bob (has finished laughing, just talks as though he might start again at whatsoever moment) It was her put me up to information technology, Nettlecrouch. Jeremy (turns to camera) I might've known. Jemima (has stopped laughing and is gasping for breath) Oh come on, Jeremy. Can't y'all take a joke? Jeremy (Turns back to her. Sternly:) No. I'm famous for it. Why else do y'all call up I like rocks so much? (becoming bawling) It'due south because rocks don't play stupid tricks on you lot, the way certain people do. Jemima (Suddenly straight-faced, she turns to Jeremy and shrugs. She looks at the photographic camera.) OK, Bob, that'south enough for today. (She stands up and moves away from the sofa.) 
Bob Correct-oh. Cutting to credits for cast. 
Bob picks up the camera and folds up the tripod. (Sounds of this.) The camera pans around a bit every bit Bob and Jemima are putting other equipment away, simply then returns to Jeremy. Bob (plain) slings the camera over his shoulder and begins to walk away. The camera swings around a bit. If possible, information technology should show the kitchen which was supposedly in their flat on the Moon. 
(suddenly forlorn and plaintive) Is the game over already? Won't yous visit again presently? The camera pauses and tilts well-nigh a bit. Jemima is now in frame. Bob Here, Jem, tin you carry this for me? (He easily something to her.) Ta. Jemima (Turns, but doesn't look directly at Jeremy. Distracted, trying to fob him off:) Yes, of course we will, Jeremy darling. The photographic camera starts moving again. Jeremy Thank you. I do love you, y'all know. The camera goes out of the door and into the hallway of the flat. The hallway is dark, and so the picture goes black. Cut to credits for coiffure. 
Cutting to Jemima and Bob in the corridor exterior. Jemima That was definitely i of his amend days. I think he'due south improving, slowly. 
Bob Aye, just face up facts, Jem. The doctors say he's never going to come out of there. He'due south living too far into the hereafter. Jemima (distressing) I suppose y'all're correct, Bob. But that game we played with him today gives me an thought for a picture. 
They begin to walk out of the shot. Bob (thoughtful) Hmm, I similar it... tell me more than... Cut to club name and copyright date. 
Jeremy and Jemima are sitting on a sofa in their living room. Jeremy looks uncomfortable; he doesn't really like beingness in front of a photographic camera. Jemima looks relaxed and confident. Bob (Off-camera) Action. Jeremy (Taken aback) Oh - right. (Pause. Deep jiff.) Hello everybody. My name is Jeremy Nettlecrouch, and this (indicates Jemima) is my wife Jemima. Jemima Hello. (She gives a piffling wave.) Jeremy Now, in 1865, the science fiction writer Jules Verne published a book called From the World to the Moon, in which he sent his intrepid explorers on a fantastic journeying from the World to the Moon. And exactly 178 years later, we - that's Jemima, myself and our good friend Bob the cameraman - er, say hello, Bob... Bob (apathetic) Hullo. (He waves his paw in front of the photographic camera.) Cut to midshot of Jeremy. Jeremy Er - yep - 178 years later, nosotros fabricated the same epic journey in reality. Only, er, we went there for our honeymoon, oh, and to see the rocks, and, er, then we came back again. But anyway, while we were there, nosotros made a piffling moving-picture show, and, er, this is information technology. (Back to two-shot. Jeremy has a niggling gadget i hand - my Serial five will be fine - which is projecting a small-scale hologram in a higher place itself. This is a kind of preview of the shuttle. He is poking a finger effectually in the hologram to dispense it. He is frantically trying to end information technology before Jemima stops talking.) Jemima Our journey started from the Mboya Spaceport in Kenya, where nosotros boarded the shuttle to make the trip into orbit. We weren't immune to use the camera there, merely Jeremy put together this sequence on the computer to testify yous what information technology was like. (she turns to him) Is it ready? Jeremy (relieved) Aye - but in fourth dimension. Close-up of Jemima. Jemima (Looking at Jeremy's gadget.) It goes faster if yous wind the handle, you know. Information technology's high time y'all got yourself a encephalon implant, instead of waving your hand over a hologram like some medieaval magician. Back to ii-shot. The hologram is now a freeze frame of the first shot of the shuttle docking sequence. Jeremy (Turning to her. Hurt.) It does the job, doesn't it? I've had this computer for twenty years, and I'm non going to go sticking a bit of wire in my ear but because this is a chip dull. He waves his paw through the hologram, moving it towards the camera. The hologram grows and moves out from Jeremy's computer to make full the screen. Deliquesce into sequence of shuttle ascending into orbit and docking with spaceliner. Jemima (voiceover) The shuttles carry fifty-four passengers and eight coiffure. For the first few minutes, you counterbalance about three times as much equally normal. Simply then the engines switch off, and you're weightless for the rest of the flying. Jeremy (voiceover) 2 1000 kilometres in a higher place the Globe, we docked with the spaceliner Artemis, which was to accept the states to the Moon. The first thing you notice as you approach Artemis is its enormous size. It's by far the biggest man-made thing in space. Information technology dwarfed our shuttle, as you can see in this shot, where the shuttle's almost too pocket-sized to see as it comes in to dock. 
They plow to await out of the window. Simply earlier this point, the Earth moves out of view. For thirty seconds, zip happens apart from the motion of the stars. Jeremy You lot sure it was this window? Jemima Observation Deck Iv, the sailor said. And this is Ascertainment Deck Four, or I'thou a wet kipper. (pause) Jeremy He might've been lying. Jemima And why in the name of Gates would he practise that? Jeremy Well, if I had passengers asking me all day where they could see the Earth going past, I'd be tempted to misdirect a few of them. Jemima I'one thousand sure yous would, but that's because y'all're a misanthropic git. Jeremy (irate) Me? Misanthropic? You - y'all - ! Bob (weary) Oh, requite over moaning - look, here information technology comes at present. Certain plenty, the Globe comes into view. All three are silent as it moves upwards the screen. When it's roughly in the middle: Jemima (softly) Wow... Bob Yeah, very pretty, I'k certain. Now can we get? My bombardment'south most to pack up. Dissolve into shot of Artemis firing its engines and beginning to move. Jemima (voiceover) After a couple more days in Earth orbit, Artemis fired its engines and began the five-twenty-four hours, 4 hundred thousand kilometre journeying to the Moon. Map (preferably a world) of the nearside of the Moon, with some labels and graphics showing settlements and (maybe) political divisions. As Jeremy says "New Tenerife" a large hand moves onto the screen, holding a sign with those words on it. Some other hand moves in from the opposite side, pointing to the precise location. Jeremy (voiceover) When the ship arrived in lunar orbit, we boarded a shuttle downwardly to the Moon. Nosotros stayed in New Tenerife, a resort on the edge of the Mare Imbrium, in the foothills of the Lunar Apennines. Jeremy and Jemima in a kitchen. This is supposed to be the place where they're staying. My kitchen will probably exist fine for this. Jeremy is standing nearby, throwing something up in the air and catching it, amazed by the low gravity. Jeremy is on the left of the picture, so his legs are hidden backside the closet. Jemima is on the right of the film. Jemima (spreading her artillery to indicate the environment) Well, nosotros've arrived at our apartment at concluding. Equally you lot can see, we're self-catering. It's a wee bit cramped for iii people, and at that place's a sign in the bath that says water is limited to thirty litres per day, but overall, information technology's non bad for five thousand a week. Jeremy misses whatever it was he was throwing. It hits the flooring and bounces. Jeremy (looking at Jemima) How much? Jemima (ignoring him) I estimate nosotros'll accept to take our showers on different days. Jeremy (hopeful) Or we could take them together. Jemima turns to face him, grabs something from the worktop, and makes equally if to striking him. He flinches, pushing himself up against the wall. Jeremy (hastily, putting his easily up in self-defence) But a idea. View of the resort from the roof of a tall building. The resort is nether a dome, maybe a kilometre across. The lunar landscape is visible across - a wide, flat evidently with occasional rocks. The photographic camera pans across the scene. At the starting time of the pan, there are mountains in the distance, but these soon disappear. One mount is noticeably taller than the others. Partway through the pan, we see a drove of domes farther off. A road leads from this dome to 1 of the others. The camera zooms in on them. The shaking gets worse equally the camera zooms. The photographic camera stays on the domes for a few seconds, and then zooms dorsum out to resume the pan. A few seconds later, it stops and then reverses. It goes past the domes and then zooms in on the alpine mountain. Jeremy (voice-over) This is the view from the roof of our hotel. Jemima (as the camera zooms in on the other domes) That's Armstrong, the beginning city to exist established on the Moon, and still by far the biggest. (Click here for a larger version of this movie.) Jeremy (as the camera zooms in on the mountain) There's Mount Alice, one of the tallest mountains in the Lunar Apennines. The rocks effectually it are mostly granite, but there are some brecciated exotics as well. Two-shot of Jeremy and Jemima sitting at a table outside a buffet, eating. (McDonalds will do nicely.) Bob is sitting opposite them, his back to the photographic camera. The camera is on a tripod. Other tables are in the background. Jeremy We've found this delightful picayune cafe not far from the market, serving accurate twentieth century American cuisine. Jemima It's a minor, but well-established, family business, and was actually one of the first cafes to open on the Moon. Every bit Jemima says "family business," cut to a long shot of the same scene, showing the McDonalds logo. If possible, there should be no sky visible in this shot. Dissolve into various drawings and photos from the NASA archives. Jemima (vocalism-over) The following day, we decided to continue a mystery tour. This turned out to be the landing site of one the Apollo missions. Bob couldn't come up, unfortunately. We think the American cuisine disagreed with him. He didn't trust the states with his camera, and then we hired a notwithstanding camera for the trip. 
Dissolve to G69-47-6961_a.jpeg (lunar lander). Jeremy (phonation-over) This is the spaceship which the astronauts landed in. Deliquesce to G69-40-5927_a.jpeg (astronaut in front end of lunar lander). Jeremy (voice-over) This is Jemima standing in front of the spaceship. Dissolve to G69-xl-5902_a.jpeg (astronaut by landing strut of lunar lander). Jeremy (voice-over) This is Jemima looking at role of the spaceship's landing gear. Dissolve to G69-0684_a.jpeg (astronaut facing camera). Jeremy (voice-over) This is Jemima looking at the landing gear from another angle, merely also looking at a rather interesting rock which was behind me. Equally Jeremy is speaking, Bob puts his hand effectually the forepart of the camera. He is holding a piece of paper which reads: "And this is Jeremy, trying to chat up a very bonny rock!" The paper completely blocks out the flick of the astronaut. Jemima (bursts out laughing) Jeremy (flustered, trying to exist believing) Bob! The newspaper stays where it is. Bob also begins laughing, and pulls away the paper to reveal a two-shot of Jeremy and Jemima. Jemima is doubled up with laughter. Jeremy is looking at her, doing his Queen Victoria impression. ("We are not amused.") Jeremy Now isn't that pathetic. My wife is in hysterics considering our cameraman has decided to play a sad applied joke on united states of america. Bob (has finished laughing, just talks as though he might start again at whatsoever moment) It was her put me up to information technology, Nettlecrouch. Jeremy (turns to camera) I might've known. Jemima (has stopped laughing and is gasping for breath) Oh come on, Jeremy. Can't y'all take a joke? Jeremy (Turns back to her. Sternly:) No. I'm famous for it. Why else do y'all call up I like rocks so much? (becoming bawling) It'due south because rocks don't play stupid tricks on you lot, the way certain people do. Jemima (Suddenly straight-faced, she turns to Jeremy and shrugs. She looks at the photographic camera.) OK, Bob, that'south enough for today. (She stands up and moves away from the sofa.) Bob Correct-oh. Cutting to credits for cast. Bob picks up the camera and folds up the tripod. (Sounds of this.) The camera pans around a bit every bit Bob and Jemima are putting other equipment away, simply then returns to Jeremy. Bob (plain) slings the camera over his shoulder and begins to walk away. The camera swings around a bit. If possible, information technology should show the kitchen which was supposedly in their flat on the Moon. (suddenly forlorn and plaintive) Is the game over already? Won't yous visit again presently? The camera pauses and tilts well-nigh a bit. Jemima is now in frame. Bob Here, Jem, tin you carry this for me? (He easily something to her.) Ta. Jemima (Turns, but doesn't look directly at Jeremy. Distracted, trying to fob him off:) Yes, of course we will, Jeremy darling. The photographic camera starts moving again. Jeremy Thank you. I do love you, y'all know. The camera goes out of the door and into the hallway of the flat. The hallway is dark, and so the picture goes black. Cut to credits for coiffure. Cutting to Jemima and Bob in the corridor exterior. Jemima That was definitely i of his amend days. I think he'due south improving, slowly. Bob Aye, just face up facts, Jem. The doctors say he's never going to come out of there. He'due south living too far into the hereafter. Jemima (distressing) I suppose y'all're correct, Bob. But that game we played with him today gives me an thought for a picture. They begin to walk out of the shot. Bob (thoughtful) Hmm, I similar it... tell me more than... Cut to club name and copyright date. Source: http://www.pembers.net/videos/earthmoon/index.html
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