"FANTASTIC VOYAGE"
Screenplay
by
Harry Kleiner
Final
December 22, 1964
REVISED - 1/15/65
REVISED - 1/18/65
REVISED - 1/19/65
REVISED - 1/22/65
REVISED - 1/26/65
REVISED - 1/27/65
REVISED - 2/1/65
REVISED - 2/2/65
REVISED - 2/5/65
REVISED - 2/23/65
Rev. 2/26/65
(NOTE: Due to the poor quality of the Xerox which I
was sold, several of the pages are missing a few
lines at the bottom. I have labeled these cut-offs
where they occur.)
FADE IN
1- OUT
3
A-3 EXT. TWA PLANE IN FLIGHT OVER LOS ANGELES - NIGHT
With the myriad lights of the city beneath it. As the
plane lands:
B-3 EXT. HUGE HANGAR
Troop carriers filled with ARMED SOLDIERS are lined
up before the hangar; several official cars filled
with SECRET SERVICE MEN, four MOTORCYCLE POLICEMEN,
and a caravan of three limousines complete the waiting
entourage. The CHIEF of the SECRET SERVICE looks
toward the airfield as the plane is heard taxiing in.
He turns and gets into one of the limousines, followed
by the others.
C-3 LONG SHOT - VEHICLES ON AIRFIELD
Coming toward camera. The plane looms in the f.g.
A motorized stairway is on the way toward the door of
the plane. The vehicles come to a halt before the
camera.
D-3 HIGH ANGLE SHOT - PLANE
The Armed Soldiers leap out of the troop carriers and
form a cordon around the plane. The Secret Service
Men get out within the circle of guards, wait for the
door to open.
4 EXT. JET DOOR
It opens. GRANT steps out: in middle thirties, with
the air of a man who takes nothing seriously -- his
coverup for involvement. He turns to help JAN BENES
out of the plane. Benes is Mittel European in dress
and manner. Physically, he is Schweitzer at forty:
the leonine head, the shock of hair. He carries a
battered suitcase. In response to Grant's gesture,
he precedes him down the stairs.
5 ON THE FIELD
As Benes reaches the last step, he is greeted by the
Chief of the Secret Service, who shakes his hand,
introduces him to several of his subordinates, and
leads him to a limousine. Their words are lost in
the din of jets. About to get into the car, Benes
turns and moves back quickly to Grant, who is near
the bottom of the stairs. Benes extends his hand.
They shake warmly. Benes moves back toward the
limousine.
6 GRANT - ON PLATFORM STAIRS
He watches as Benes gets into the limousine and the
caravan takes off with the Motorcycle Escort. The
Soldiers are climbing back into the troop carriers.
Grant starts down the stairs, is lost to view in the
general activity.
7- OUT
8
A-8 EXT. PICO BOULEVARD
Down which the cavalcade speeds.
B-8 EXT. WAREHOUSE DISTRICT OF STUDIO (BACK LOT)
The cavalcade races through an area of dark ware-
houses.
C-8 EXT. DESERTED STREET (BACK LOT)
A rundown area. The cavalcade starts down the street.
In the second floor of an otherwise dark house, a
light is turned on and off, an evident signal. PAN
DOWN to a heavy car, waiting in a narrow alley which
opens into the street. Its headlights are off, the
sound of its engine completely drowned by the con-
certed roar of the oncoming cars and motorcycles. As
the cavalcade nears the entrance to the alley, one
of the motorcycles comes speeding up from the rear of
the escort. The car in the alleyway starts toward
the entrance to the alley.
9- OUT
15
A-15 EXT. ALLEYWAY
The car starts hurtling forward at full speed. The
front of the limousine is now visible. A broadside
impact seems inevitable.
B-15 EXT. ALLEY
The motorcycle from the rear reaches the limousine
as the kamikaze car comes hurtling out like a motor-
ized projectile. It hits the motorcycle -- a totally
unexpected obstruction -- and sends the Policeman
flying out of scene. It is sufficient to deflect the
kamikaze car from its deadly aim. The car hits the
rear of the limousine, sends it spinning out of
control. The suicide car, also out of control, careens
toward the opposite side of the street. The limousine
smashes into a telephone pole, which brings it to a
jolting stop.
16 INT. LIMOUSINE
The impact throws Benes to the side. His head hits
the door handle with stunning force, almost knocking
him out.
17 EXT. STREET
The kamikaze car slams directly into a brick wall. It
instantly bursts into fire, engulfing the Driver. The
fitful flames illuminate the otherwise dark street.
18 EXT. LIMOUSINE
The Chief of the Secret Service jumps out of the
limousine, waves to a sedan to pull up, his shouts
lost in the general turmoil. Other Secret Service
Men are helping the dazed Benes out, shielding him.
A sedan pulls up beside the limousine.
19 INT. SEDAN
The Chief of the Secret Service instantly hustles
Benes into the rear. As he climbs in beside him, and
the other Secret Service Men rush to the other side
to get in, there is the sharp crack of a rifle shot.
It shatters the rear window of the sedan, narrowly
missing Benes. The Chief thrusts him onto the floor,
sprawls on top of Benes to cover him, while shouting
to the Driver to get going, his words indistinguish-
able in the confusion of more rifle shots, which sends
glass and bullets ricocheting through the interior of
the sedan.
20 EXT. STREET
In the eerie light of the burning car, the sedan can
be seen speeding off, flanked and spearheaded by
Motorcycle Police. The Secret Service Men and those
in the sedans are left behind, firing toward the top
floor of a nearby building from which the rifle fire
came.
21 SERIES OF IMPRESSIONISTIC CUTS THROUGH CREDITS
Without divulging the nature of the hospital, the
unconscious Jan Benes is seen undergoing a fast and
thorough medical probe by TECHNICIANS and SPECIALISTS,
using the latest equipment. Huge X-ray machines,
Centrifuges whirling blood samples, EKGs, Encephalo-
graphs, and a variety of instruments used in cerebral
examinations are featured. After the LAST CREDIT:
A-21 EXT. CITY STREET - NIGHT
It is late. A car is speeding along.
B-21 INT. CAR
Seated in the rear, Grant looks as if he has just been
aroused from sleep and hustled into the car in a hurry.
He is getting into his shirt, helped by a MAN beside him.
There is a smudge of lipstick on his cheek.
MAN
Sorry we had to get you up at this
hour, Mr. Grant.
GRANT
(yawning)
I thought I was on my vacation...
What's it all about?
MAN
I can't tell you.
GRANT
Where we going?
MAN
I can't tell you that either...
Excuse me, Mr. Grant, but you've
got a smudge on your cheek.
He takes out handkerchief, realizing Grant can't see it.
MAN
May I?
GRANT
Go ahead.
As Grant finishes buttoning on his shirt, the Man rubs
off the lipstick. Then he throws the handkerchief out
of the car.
GRANT
What'd you do that for?
MAN
I'm married.
GRANT
And she said it was indelible...
DISSOLVE TO:
C-21 EXT. DESERTED WAREHOUSE - PARKING AREA - NIGHT
The car bearing Grant pulls up on an unpaved parking
area used for loading trucks. Nothing stirs. The
DRIVER shuts off the engine and lights.
D-21 INT. CAR
The Driver and the Man in the rear get out. As Grant
starts to follow:
MAN
You're to stay inside, Mr. Grant.
(answering look)
And wait...
They close their respective doors, leaving Grant alone
in the car, looking out mystified into the darkness.
E-21 EXT. PARKING AREA
The two men move off together, until they reach what
they obviously know is a proscribed distance from the
car. Then they stop and look at it. For a moment
nothing happens, then the ground seemingly starts to
sink with the car.
F-21 INT. CAR
Grant is startled to see the earth sliding up past the
car.
G-21 LONG SHOT - ELEVATOR SHAFT
It now becomes apparent that the car has been resting on
what is really the top of an elevator shaft. The sides
of the shaft now become visible: it is seemingly bottom-
less.
H-21 INT. CAR - IN SHAFT
Grant responds as the elevator finally comes to a halt.
22- OUT
39
40 INT. BOTTOM OF ELEVATOR SHAFT
The car is on the earthen platform. Two big doors open.
A scooter bearing the distinctive insignia of the CMDF
appears, driven by an M.P. wearing the same emblem.
Grant gets out of the car, is waved by the M.P. into the
scooter. He gets in, is driven away.
41 INT. UNDERGROUND ORDNANCE DEPOT
They pass through a vast empty area, obviously capable
of holding large pieces of equipment. The insignia of
the CMDF is prominent.
42- OUT
43
A-43 RAMP
The scooter carrying Grant speeds up the incline to:
44 INT. CENTRAL CLEARANCE AREA
MALE and FEMALE OFFICERS, all in the uniform of the CMDF,
are moving about busily. As the M.P. and Grant drive
across the foyer, Grant eyes the Female CMDFs apprecia-
tively. Their uniforms emphasize non-military points.
The scooter reaches:
45 INT. CLEARANCE DESK
The OFFICER behind the desk looks up.
OFFICER
Your I.D. card, please.
Grant takes out a card with only an embossed number. The
Officer places it into an IDENTIFIER. We see its screen
is blank. After a moment, Grant's picture flashes on in
color, in full view and profile. The Officer looks up at
Grant, sees it is an exact likeness. He then extracts
the card. The screen goes blank. He hands Grant the
I.D. card. The scooter takes off, speeding down a long
neon-lit corridor, marked off for scooter traffic: four
lanes, two in each direction. Numerous doors leading to
offices open on both sides of the walkways. Traffic is
heavy. Grant is the only one in mufti. The scooter
approaches doors over which lights flash:
MEDICAL DIVISIONAUTHORIZED PERSONNELONLY ONLY ONLY!
As the scooter nears the Sentry Box, the M.P. on duty
hits a switch. The steel doors slide open. The scooter
goes through into:
46- OUT
50
51 INT. MEDICAL FOYER
GENERAL ALAN CARTER is coming out of a door in a hurry.
The scooter bearing Grant pulls up beside him. Grant
gets out. They shake hands.
CARTER
Hello, Grant. Good to see you
again.
GRANT
The Pentagon, wasn't it, General?
Only you weren't in that uniform...
Too preoccupied to elucidate, Carter leads him through
a nearby door into:
52 INT. OBSERVATION ROOM
They move to window overlooking the OPERATING ROOM, see
the unconscious Benes being wheeled in for Surgery. His
head is uncovered. The full shock of hair stands out
against the white pillow. His body is draped in the
usual manner. A battery of SPECIALISTS and MEDICAL
ATTENDANTS, MALE and FEMALE, are moving about under the
glare of beams focused on the Operating Table.
GRANT
(startled)
Benes... What the devil happened?
CARTER
The Other Side got to him.
GRANT
How bad off is he?
CARTER
Brain injury.
GRANT
Before or after what he wanted to
tell you?
CARTER
Before he could breathe a word.
He's the only scientist who knows
the answer to what we're after.
That's why we have to operate --
He turns away from the window, moves toward another door,
with Grant following.
CARTER
-- and why we need you.
GRANT
Me?
Bewildered, he follows Carter through door into:
53- OUT
55
56 INT. MONITORING ROOM
Carter moves to a panel of many switches and TV screens.
GRANT
I can't even put a Band-Aid on
my finger.
CARTER
Here's the Surgeon.
He flicks a switch. On the TV screen appears the
INTERIOR OF DUVAL'S OFFICE. We see DUVAL, a brain
surgeon in the middle forties. He has the manner of
one totally dedicated to his work. At the moment, he
is testing a ruby laser, narrowing the beam down to
pencil-like thinness. Assisting him is CORA PETERSON.
In the middle twenties, her attractiveness is matched
by her efficiency, which is considerable. They work
together smoothly, the result of long association.
It is evident neither know they are being observed
during:
CARTER
Duval. Dr. Peter Duval. Top brain
man in the country. Ever hear of
him?
GRANT
Sorry, but I'm rusty on surgeons.
Who's the girl?
CARTER
Cora Peterson, his Technical
Assistant. You'll join Duval
and the others --
GRANT
What can I do? Except maybe pass
out?
Carter flips on another switch. On the TV screen
appears the INTERIOR OF DR. MICHAELS' OFFICE. It is
dominated by big blowups of the Circulation System.
Michaels is assembling charts, as if under pressure.
CARTER'S VOICE
(on loudspeaker)
Mike...
Michaels moves to a wall, presses a switch. His TV
screen shows Grant and Carter.
MICHAELS
Yes, Alan.
CARTER
Meet Grant. This is Dr. Michaels,
Chief of the Medical Section.
MICHAELS
Glad to have you with us, Mr. Grant.
GRANT
Wish I knew why.
CARTER
Tell him where he fits in, will you?
I've got a few things to check out.
He moves to another panel, is seen throwing on switches,
monitoring a fast series of scenes, all of which are
indistinguishable in angle of shot. Michaels is seen
bustling about, collecting charts during:
MICHAELS
We need you for Security purposes,
Mr. Grant.
GRANT
At an operation?
MICHAELS
They know they failed to kill
Benes. Security thinks they'll try
again, first chance they get. We're
afraid of medical sabotage -- or
surgical assassination.
GRANT
Surgical assassination?! But that
means you suspect --
CARTER
(re-entering scene)
[LINE OF DIALOGUE CUT OFF]
MICHAELS
I don't agree. Just because he's
often difficult --
CARTER
Difficult? He's impossible!
MICHAELS
That's no reason to suspect him of
disloyalty.
GRANT
But why take the chance, when there
must be other doctors?
CARTER
We have no choice. Duval's the most
skillful brain surgeon in the country,
and he's right here, at hand.
GRANT
I wouldn't know if he's trying to
save him or kill him.
MICHAELS
I'll be standing by. I'll know.
CARTER
(to Grant)
And no matter what happens, you're
to take orders only from Dr. Michaels,
understand?
GRANT
Right, sir.
CARTER
Come along, they'll be operating
shortly.
(hand on switch)
See you later, Mike.
Michaels waves. Carter switches off the monitor. He
moves to a door. Grant follows.
57- OUT
61
62 INT. MEDICAL FOYER
As they emerge:
GRANT
His technician okay? In addition
to the Looks Department?
CARTER
No question of her loyalty.
As Carter leads Grant to the scooter and they take their
places, Grant looks at the big CMDF insignia on the floor.
GRANT
I don't mean to be inquisitive.
But this CMDF -- for all I know
it could stand for ConsolidatedMobilizationofFemaleDelinquents?
CARTER
(matter-of-fact)
CombinedMiniatureDeterrentForces.
GRANT
(blankly)
Say that again?
Carter starts the scooter and they drive through the big
doors leading out of the Medical Foyer.
63- OUT
74
75 INT. CORRIDOR - TRAVELING WITH SCOOTER
CARTER
We can reduce anything down to any
size we want. People -- ships --
tanks -- planes...
GRANT
General, I've heard some wild ones.
But this takes it.
CARTER
We can shrink an Army -- with all
its equipment -- and put it in a
bottle cap. That's why we call it
CombinedMiniatureDeterrentForces.
GRANT
(with silent whistle)
If the Other Side ever gets hold of
a thing like that...
CARTER
They have...
(answering look)
But we've both got the same problem
-- lack of control. We can only
keep things Miniaturized for exactly
sixty minutes. After that, every-
thing starts growing back to its
original size.
They arrive at the root of the escalator, leave the
scooter and board the moving stairway.
76 WITH ESCALATOR
As they ride up:
GRANT
I assume Benes knows how to control
it.
CARTER
That's right. He wanted us to
have the secret, and not them.
Which is why they tried to kill
him.
GRANT
They're bound to try again. No
wonder they want me to stand by
during the operation.
CARTER
And take a little trip with them...
GRANT
(bewildered)
Trip? Where to?
CARTER
(matter-of-fact)
Well, the only way to reach that
clot is from inside the Brain. So
we've decided to put a Surgical
Team and a Crew into a submarine --
reduce it way down in size, and
inject it into an Artery --
GRANT
(jolted)
You mean I'm going along?
CARTER
As part of the Crew.
GRANT
Wait a minute! They can't shrink
me!
CARTER
(assuringly)
Grant, our Miniaturizer can shrink
anything.
GRANT
But I don't want to be Miniaturized -- !
CARTER
It's only for an hour --
GRANT
Not even for a minute! General
Carter, sir, I'd like you to
reconsider your choice. I'm just
not the right man for a mission
of this kind.
He starts walking against the direction of the escalator,
thus remaining in the same place.
CARTER
(taking his arm)
Come on, Grant. You're going to a
Briefing.
They have reached the top of the escalator. Nearby is
a door marked:
CONFERENCE ROOM
Carter opens the door, waves him in.
77 INT. CONFERENCE ROOM
Grant and Carter enter in the middle of what is evidently
a heated argument between COLONEL DONALD REID and Duval.
Reid is in the uniform of the CMDF, with a cadaceus
which indicates he is the Medical Division. Also present
is CAPTAIN BILL OWENS, in Naval uniform, and Michaels.
Cora stands beside Duval, rather abashed, since she is
the cause of the vociferous disagreement.
DUVAL
(irascibly)
Miss Peterson volunteered to come
along!
REID
So did every male Technician in the
Unit. A woman has no place on a
mission of this kind.
DUVAL
(brooking no rebuttal)
I insist on taking my Technician.
REID
You'll take whoever I assign!
DUVAL
(angrily)
Don't tell me whom I'm to work
with! Not on this operation or
any other! I'll do what I think
is best, without any interference
from anyone!
Before Reid can reply:
MICHAELS
(diplomatically)
Dr. Duval has relied on Miss Peterson
for years. And since she wants to
come along, I'm sure it's for the best,
Dr. Reid.
REID
(making best of
defeat)
I don't agree with you -- but since
you're in charge, you can do as you
please. But I want to go on record
as being against it.
CARTER
Grant -- Colonel Reid, Operation
Commander.
(they nod; of
Michaels)
You've met our Medical Chief.
Grant and Michaels shake hands, in effect their first
meeting vis-a-vis.
CARTER
This is Dr. Duval, our Head Surgeon.
GRANT
Oh yes, I've heard of you, Doctor.
With the attitude of the completely dedicated profes-
sional, Duval throws him a cursory glance, nods, sits
down, quickly opens up a folder containing the latest
lab reports on Benes, which he scans during:
MICHAELS
Miss Peterson, his Technical
Assistant.
GRANT
(the charmer)
How are you, Miss Peterson?
She responds with an impersonal nod, sits down beside
Duval and opens up her sheaf of lab reports, handing
him the pertinent ones during:
CARTER
This is Captain Bill Owens, designer
of an experimental submarine for
the Navy's 'Oceanographic Research
and Development Program.'
As they shake hands:
GRANT
Out of your element, aren't you,
Captain?
OWENS
Sort of.
GRANT
That makes two of us.
CARTER
Grant's uniquely qualified for this
mission. He's a Communications
Expert and was a Frogman during the
War. Besides, he brought Benes into
this country, and the fewer people
who know about him, the better. At
any rate, you'll find Grant invalu-
able, should anything go wrong once
you're under way.
(to Reid)
Okay, Don.
REID
Here's the overall Target Area...
Reid presses a switch. A large anatomical map of a
Brain flashes on a central screen. The ganglia and
dendrites form a network, much like intersecting roads
in a detailed war map. The clot is a solid obstruc-
tion in the center. Grid lines cross the map vertically
and horizontally as points of reference. The entire
projection has a three-dimensional effect, since it is
drawn in perspective.
DUVAL
Benes' brain...near as we can map
it stereotaxically...
He switches on a flashlight arrow, points to the clot.
DUVAL
The clot's right here...
He switches off the arrow and quickly flashes it on
again, this time on the edges of the map. The arrow
now probes and withdraws from the base, center and top
of the brain, like the animated technique of showing
an attack which is repulsed at the perimeter.
DUVAL
Impossible to get at --
(arrow makes vertical
penetration to give
impression of wide cut)
-- without damage to the intervening
tissue...which would prove fatal to
Benes.
He presses another switch. A startling OVERLAY OF THE
BLOOD VESSELS OF THE HEAD AND NECK appears over the
anatomical drawing of the brain, encasing it. The red-
colored arteries and blue-colored veins form such an
intricate maze, that finding one's way through it seems
virtually impossible.
DUVAL
The only way to reach it is via
the Arterial System.
Grant looks at Cora. She is busy making notes from
the projected map. Owens is showing no undue reaction,
apparently having been apprised.
REID
Phase One calls for Miniaturizing
a submarine, with Crew and Surgical
Team, and injecting it into the
Carotid Artery.
He points with the arrow to the exact spot.
OWENS
How small would that be?
REID
About the size of a microbe.
GRANT
Colonel, I'm sure that's quite a
comfortable size, but --
REID
Reduced proportionately, you won't
find it too strange --
GRANT
All in a day's work, sure. But I
was thinking of the speed of the
Circulatory System.
MICHAELS
About forty miles an hour.
GRANT
Well, it seems to me if you reduce
a ship to microscopic size -- and
the stream remains constant -- we'd
take quite a beating.
OWENS
(very worried)
I hope you've taken that into
account --
CARTER
We have.
REID
You won't be going anywhere near
that fast. We're putting Benes
in deep Hypothermia -- that is,
freezing him low as compatible
with human life. It'll slow down
his heartbeat, Circulation, and
all other physical processes.
Owens begins polishing his glasses, indicating his
inner qualms.
OWENS
Even so, because of our size --
I mean lack of it -- we'll still be
cruising mighty fast. We'll be
smashed to bits if there's any
turbulence --
MICHAELS
(pointing with
flashing arrow)
The only danger of turbulence is
in the Heart -- and we're not going
through it.
(flashing arrow)
Once in the Carotid Artery, we'll
remain in the Arterial System...
until we reach the point of damage --
(flashes around clot)
-- where Dr. Duval will attempt to
dissolve the clot with a laser beam.
After the operation, we'll return
by way of the Venous System --
(coursing down
with arrow)
-- until we reach the base of the
neck --
(arrow stops)
-- where we'll be removed right
here -- with a hypodermic.
GRANT
How will you know where the sub is,
at any particular moment?
REID
Dr. Michaels -- our Circulatory
Specialist -- will serve as your
Navigator. He'll know just where
you are. And you can communicate
directly with us, by wireless.
Besides, the sub is nuclear-powered,
and we'll be tracking it just as we
would any radio-active tracer.
CARTER
There'll be a team of Surgeons
standing by. We're prepared to
remove you immediately, should
anything go wrong. In any event,
you must be out within sixty minutes.
After that, you'll be in danger of
attack.
GRANT
Attack? Who -- or should I say
what from?
REID
Benes' natural defenses. White
Corpuscles -- Antibodies. Once
you begin to grow -- and become a
menace to the body -- you'll
trigger them off...
MICHAELS
With all the unknown factors in
the body, I still say risking five
lives for one is something we
should reconsider --
CARTER
We understand your concern, but
we've made our decision, Doctor.
Any questions? Anybody?
GRANT
Just one, General...
CARTER
Yes?
GRANT
Where can I get a cab back to town?
No one responds to the attempted levity. Carter rises.
CARTER
(to all)
Proceed to the Sterilization
Section.
Carter and Reid move out of the room through the door.
The others go out through another.
78- OUT
80
A-80 INT. CORRIDOR
The five appear and stop before a cylindrical door with
handles similar to those in a vault, to give the effect
of a sealed chamber within. Over the door flashes:
STERILIZATIONSECTION
The five reach the door. An electronic beam swings it
open automatically. They start in. As Grant moves past
the sign:
GRANT
How much can a man give to his
country?
The door swings automatically shut behind him.
81 OUT
82 INT. CONTROL TOWER
A huge plastic bubble in the form of a truncated semi-
circle, with glass panels overlooking areas not visible
in the angle of the shot. TECHNICIANS in the uniform
of the CMDF are seated at a desk-level bank of monitors,
on a slightly raised platform. They are checking the
numerous TV screens for focus. A cacophony of B-Beeps
from the screens underscores the sense of last-minute
preparations. A COMMUNICATIONS AIDE wearing headphones
and throat microphone moves about. Carter crosses to
the Miniaturization Control Panel. Reid goes to the
window overlooking the OPERATING ROOM. Below, he can see
Benes on the operating table, a towel over his head.
Surgical Aides are making a last-minute check of the
Thermal Blanket which encases him in three sections.
Reid presses a button on the wall beside the window.
REID
Make the final preparations...
They begin to remove the towel from Benes' head. Reid
turns away from the window and crosses to the window
overlooking the MAIN OPS ROOM. With him we see a huge
room, bisected by a floor-to-ceiling detailed map of the
entire ARTERIAL and VENOUS SYSTEM from rib-cage to skull,
to simulate the body of Benes in a prone position.
Grid lines mark off areas in relation to true North and
South. TECHNICIANS are bustling about with charts and
reports which are coming in through headphones, tele-
phones, teletypes, batteries of Computers, Oscillographs,
etc. Encircling the entire floor are glass-fronted
booths which enclose the SPECIALISTS' POSTS. Reid turns
to a Technician at the Master Control Section.
REID
(to Technician)
Heart.
The Technician flips on a switch. On a TV screen
appears the INTERIOR OF THE HEART POST, one of the glass-
enclosed booths looking out onto the MAIN OPS ROOM.
Like all the Specialists Posts, it is concerned with
its particular area and nothing else: Blowups of the
Heart in great detail, X-rays of Benes' heart, its beat
being recorded electronically on a huge EKG chart which
fills one wall and is in constant operation via remote
control. The HEART SPECIALIST is standing before the
EKG chart, while a TECHNICIAN twirls dials at a panel.
Reid can be seen in the closed TV circuit in the Heart
Post. (As in all subsequent TV communications.)
REID
How's it look, Henry?
HEART SPECIALIST
(over TV)
Holding steady at thirty-two per
minute.
REID
(to another Technician)
Respiration.
The Technician flips on another switch. On a TV screen
appears the INTERIOR OF THE RESPIRATION POST. Here
everything relates only to the lungs. In addition to
cut-away sections where each small area assumes the
proportions of a detailed war map, there are banks of
Benes' X-rays, lit up in panels, plus immense calibrated
charts labeled INHALATION and EXHALATION, on which the
rate is being electronically recorded.
REID
How's he doing, Jack?
The Lung Specialist is seen glancing at a chart.
LUNG SPECIALIST
(over TV)
Respiration is now six per minute...
I wouldn't take him down any further.
Another Technician flips switch in response to:
REID
Hypothermia...
On a TV screen appears the INTERIOR OF THE HYPOTHERMIA
POST, its walls festooned with dials recording bodily
temperature, before which TECHNICIANS sit watching and
making minute adjustments. The HYPOTHERMIA SPECIALIST
moves along, keeping a sharp eye on the various zones
labeled: CIRCULATORY, RESPIRATORY, CARDIAC, RENAL,
etc.
REID
Any problems, Dr. Sawyer?
HYPOTHERMIA SPECIALIST
(over TV)
No sir. We're holding him at twenty-
eight degrees Centigrade.
Carter enters, moves to the Control Section to join Reid.
CARTER
Where do we stand?
REID
Medical's ready.
The Communications Aide with headphones moves up to them.
COMMUNICATIONS AIDE
They're in the Sterilization
Corridor --
83- OUT
88
89 INT. STERILIZATION CORRIDOR
Bathed in eerie ultra-violet light. The five are
passing down the corridor, in single file. All are
dressed in khaki uniforms. Grant moves ahead of Cora.
As they reach a vestibule at the end, the door swings
open automatically. Grant starts to help Cora over
the threshold.
CORA
Don't touch me. I'm sterile.
Grant grins. They move into:
90 INT. MINIATURIZATION ROOM
A huge parquet area, composed of white octagonal modules.
In the center is the Zero Module, in red. Standing over
it is a fifty-foot craft. The angle and the distance
renders its details indeterminate. WHITE-CLAD TECHNICIANS
wearing rubber gloves are seen working about it. As the
five come into the room:
CARTER'S VOICE
(on loudspeaker)
Please board and check all your
equipment immediately.
They look up, see:
91 CARTER AND REID AT WINDOW OF CONTROL TOWER - THEIR
P.O.V.
They can be seen, high above.
92 DOWN INTO MINIATURIZATION ROOM - FROM P.O.V. CONTROL
TOWER
Carter and Reid look down at the tiny figures below as
they move toward:
93 THE PROTEUS - OVER THE ZERO MODULE
With Grant and the others, we now get the full impact
of the experimental sub at close range: sleek lines
from the intake in the nose sweep over a transparent
plastic bubble atop the structure, and then down to
taper off at the stern under which are double vents.
The sub is supported by cradles, allowing it to stand
free of the module. Plastic windows in the bow afford
the occupants a full view. A white-Clad Technician
hands Owens a small lead box.
TECHNICIAN
Here's the particle, sir.
OWENS
Everything aboard?
TECHNICIAN
All squared away, sir.
Carefully holding the lead box, Owens starts up the
ladder, followed by Duval, then Michaels. Grant waves
Cora to precede him. They reach the monk's steps
above the ladder, climb upward, then one by one dis-
appear through the hatch. Grant is the last one in.
94 INT. PROTEUS
With Grant we see the interior. There are plastic
windows in the bow. In the center is the Navigation
and Communications kiosk, which contains charts,
reports, and a wireless set. Four swivel chairs are
spaced about the kiosk. Behind it, a ladder leads
to the Conning Bubble above. Set in the rear of the
kiosk is a watertight door leading into the escape
hatch. Behind the kiosk is a Lab and Storage Section,
not visible at the moment. No power of any kind is
on -- lights or air-conditioning. The interior is
illuminated by the light coming in through the plastic
windows. Duval, Michaels and Cora instantly move to
the kiosk and busy themselves examining the charts
and reports in the numerous pigeonholes. Owens hands
the lead box to Grant.
OWENS
Hold this...
Grant takes the lead box. Owens removes a crank from
the tool box, inserts it into a hole in a circular
trap door which reads:
DANGERATOMIC FUEL
Owens turns the crank. The lid of the trap door opens.
A hollow cradle comes up. Owens then opens the lead
box by undoing two butterfly screws. He removes the
Seed Cage from within the box.
GRANT
(not relishing thought)
Atomic fuel?
OWENS
Nothing you could see with the
naked eye. But there's a micro-
scopic radio-active particle
inside.
He puts the Seed Cage on the cradle and lowers it back
beneath the floor, by reversing the crank. During the
above:
GRANT
If it's no military secret, how can
a sub run on a microscopic particle?
OWENS
They can't reduce nuclear fuel.
But once the Reactor's Miniaturized
-- along with the submarine -- a
microscopic particle should emit
enough energy to activate it.
GRANT
That's cutting it mighty close --
for a perfect fit.
OWENS
It should work -- theoretically.
If it doesn't, the mission's off.
The craft's nuclear-powered.
Except for your wireless.
The lid of the trap door is now level with the floor.
Owens removes the crank, and taking the lead box from
Grant, he puts both back into the tool box during:
GRANT
(looking about;
admiringly)
All in all, quite a canoe...
OWENS
Designed for Piscatorial Research
-- the Spawning Habits of Deep Sea
Fish.
GRANT
Remind me to ask you about the love
life of an octopus.
He moves to the wireless, sees Cora smile as she goes
through the aft door. Grant begins tapping out a
message.
95- OUT
96
97 INT. CONTROL TOWER
A WIRELESS TECHNICIAN is writing down the message heard
coming in. He tears it off his pad, hands it to the
Communications Aide, who takes it to Carter.
COMMUNICATIONS AIDE
Test message from the Proteus, sir.
(reading)
'Miss Peterson has smiled.'
REID
That's an auspicious sign.
CARTER
Confirm receiving.
98 INT. PROTEUS
Grant is at the wireless, logging the incoming message.
In the meantime, Owens finishes battening down the
entrance hatch. Duval is studying medical reports,
Michaels is spreading out the first of the Navigation
Charts, a very detailed map of the Vascular System of
the Neck and Head. As Owens crosses on the way to the
ladder leading to the Bubble:
MICHAELS
Captain, how will you be able to
follow my charts --
(of Bubble)
-- from up there?
OWENS
On the Repeater.
Michaels looks at him blankly. Owens flips a button up
and down of a hooded device which is trained on the chart
area. The small screen remains blank.
OWENS
Once the power's on, we'll be in
direct touch. Come, I'll show you.
Michaels moves with him to the ladder leading to the
Bubble. Owens stops, waves him to continue. Michaels
goes up the ladder.
A-98 INT. CONNING BUBBLE
An ultra-sophisticated set of controls, consisting of
a push-button panel and an airplane-like steering wheel.
The plastic affords a 360 degree view of the Miniaturi-
zation Room. There is room for only one person. Owens
remains on the ladder, so that only his head is within
the Bubble. Owens points to the identical Repeater on
the Panel.
OWENS
That's it...
MICHAELS
(of controls;
ironically)
Looks simple to operate.
He sits down in the single seat.
B-98 INT. PROTEUS
Grant is moving aft. With him we hear:
OWENS' VOICE
(from Bubble; with
pride)
It actually is, although the controls
are highly sophisticated. There's a
button for everything --
Grant enters:
99 INT. LAB AND STORAGE SECTION
Originally designed for marine research, it still shows
some of its pre-adaptation structure: there is a series
of glass-fronted compartments, now labeled ANTIBIOTICS,
ANTI-COAGULANTS, COAGULANTS, MED OXY, etc. A wide
counter runs the length of the compartment on one side,
suitable for working on specimens. A Ruby Laser sits
on the counter at the end, its plastic cover removed
and to the side. At the other is a piece of metal on
a metal base. As Grant enters, he sees Cora working
with a set of very small tools, making minute adjust-
ments on the laser.
GRANT
Bet you're pretty handy around the
house... Can you cook?
CORA
(indicating OKY
containers)
We're pushing oxygen today.
GRANT
I'll take some Laughing Gas, ma'am.
CORA
(surprised)
You sound as if you're not looking
forward to it.
GRANT
Well, it's not exactly a pleasure
cruise.
CORA
I think it's the most exciting --
(with awe)
We're going to see things no one
ever saw before. The actual physical
process of Life itself -- not something
under a microscope... Just think of
it --
GRANT
That's the trouble. I am. Being
shrunk...
CORA
You may learn to like it.
She has finished adjusting the laser. She now lifts
Grant's hand away from the metal disc.
CORA
Excuse me...
She presses a button on the laser. With startling
suddenness, a thin pencil of light shoots out, cutting
a hole through the metal instantaneously. Had
Grant's hand remained, the beam would have gone right
through it.
GRANT
For a nice young lady, you play with
the damndest toys, Miss Peterson...
She adjusts the intensity and thickness of the laser
beam, each new one cutting different size holes through
the metal during:
CORA
(with smile)
That'll teach you where to keep
your hand.
GRANT
Now I know...
As she drills metal through again:
GRANT
That could be quite a lethal
weapon... It could kill, not cure.
CORA
Not in the hands of a great surgeon
like Dr. Duval. The beam of this
laser can be regulated to one
millionth of a millimeter.
GRANT
I understand you've been Dr. Duval's
Assistant for quite some time... He
must've snatched you out of the cradle.
CORA
I've been with him since I got out
of school. He brought me into the
CMDF, over five years ago.
GRANT
A long time, with one man.
CORA
Not working for someone like
Dr. Duval --
She breaks off, realizing she may have revealed her
feelings. She switches off the laser, averts looking
at Grant as she fits the plastic cover over it. Into
the silence, the wireless is heard as a message comes
in. Grant starts back into:
100 INT. PROTEUS
Thoughtful, listening to the wireless. Michaels is
coming down from the Bubble. As Grant reaches the
wireless, the tapping comes to an end.
GRANT
(loud enough for all)
'Prepare for Miniaturization'...
OWENS
Positions, please. And strap your-
selves in.
Grant and Duval begin putting on their safety harnesses,
which are attached to their respective seats. Cora
appears out of the aft compartment. Michaels moves
toward it, a check-list in hand. He disappears within.
In the meantime, Owens is busy tightening every lock-
screw in evidence.
101 AT THE KIOSK
Cora stops before Duval, tries to help him with the
final stages of getting into the harness.
DUVAL
It's all right -- I can manage.
She starts to leave, stops.
CORA
(with difficulty)
Doctor...
DUVAL
(busy with harness)
Yes, Cora.
CORA
I -- I want to say...
She falters as he looks at her.
DUVAL
What is it?
(anxiously)
Anything wrong?
CORA
(the moment gone)
I just wanted to thank you for
taking me along.
DUVAL
Thank you for volunteering.
She turns abruptly, gets into one of the seats and
starts putting on her harness. In the meantime,
Michaels appears from the aft compartment, checking
off a few items on the bottom of his list as he moves
quickly to the kiosk. He places the list into a
pigeonhole, sits down, quickly straps on his harness.
102 WITH OWENS
Everything battened down, he now checks Cora's harness,
then does the same with Duval's and Michaels'. All
are now sweating. Finished with Grant's harness, Owens
moves quickly up the kiosk ladder leading to:
103 INT. BUBBLE
Owens drops into the seat, and with the speed of much
practice, slips into his harness.
104 INT. PROTEUS
Grant and the others hear:
OWENS' VOICE
(from above, in
Bubble)
Okay, Mr. Grant. Tell them we're
ready.
As Grant begins to tap out message:
105 INT. CONTROL TOWER
The message is coming in. The Wireless Technician
writes it down, rips it off the pad and the Communica-
tions Aide reads:
COMMUNICATIONS AIDE
'Proteus reports all secured.'
CARTER
(to Technician)
Miniaturizer...
A TECHNICIAN at a panel marked MIN throws a switch.
106 INT. MINIATURIZATION ROOM
What appeared to be a solid wall at the end now slowly
starts to slide apart, gradually revealing:
107 THE MINIATURIZER
A huge, honeycombed disc, suspended from a rail run-
ning along the ceiling, begins to roll silently toward
the sub.
108 INT. PROTEUS
As Grant gets his first sight at what is going to shrink
him, he reacts quite convinced. He glances at Duval,
Michaels and Cora. They, too, are looking at the on-
coming Miniaturizer, but with none of his response.
They apparently have seen it before.
109 P.O.V. MINIATURIZATION ROOM - FROM CONTROL TOWER
Reid and Carter are looking down at the Miniaturizer as
it rolls slowly toward the sub. When the disc is directly
over the sub, the Technician at the MIN panel throws a
switch, instantly stopping the Miniaturizer.
REID
All stations stand by...
A Technician presses a button. There is the SOUND of
a warning claxon.
110 MAIN OPS ROOM - P.O.V.
The last minute scurry, as all take their respective
places. The GRID OFFICER is seen moving up to the big
center grid map of the Arterial System with something
in hand which we can't distinguish as yet.
A-110- CUTS OF TECHNICIANS IN MAIN OPS ROOM
D-110
Now all are mobile, waiting at their machines.
E-110 INT. CONTROL TOWER
Reid is now before the monitors, all of which are on.
Carter turns from the window overlooking the Miniaturi-
zation Room, looks at Reid. The latter nods in silent
affirmal. Carter turns to the Communications Aide.
CARTER
Commence Miniaturization.
COMMUNICATIONS AIDE
(into throat mike)
Commence Miniaturization.
111 INT. MINIATURIZATION ROOM
The bottom of the Miniaturizer begins to glow with
increasing intensity. Simultaneously, the modules
beneath the sub also begin to light up with equal
intensity. Gradually, the entire sub is encased in a
blaze of incandescence.
112 INT. PROTEUS
The lack of ventilation and the tension is causing
Grant and the others to sweat profusely.
113 INT. CONNING BUBBLE
From his vantage point, Owens can see the light of the
Miniaturizer reach the peak of intensity.
114 INT. CONTROL TOWER
A light flashes on the MIN panel. With Carter we see a
grid on the Technician's Control Panel as it becomes
activated. Two blips from the co-ordinates marked MINDIMEN and MINSECS flash on. Reid remains at the
monitors, eyes on the charts which keep flashing on,
sending Benes' temperature, heartbeat, etc.
115 OUT
116 INT. MINIATURIZATION ROOM
The light is bathing the entire sub in an iridescent
glow. There is a dull hum.
117 INT. PROTEUS
With Grant we get the first subjective realization that
the sub is shrinking: the proportions of what he can
see in the Miniaturization Room are changing. He looks
about him in a moment of wonder.
118 DUVAL AND MICHAELS
From their vantage points at the kiosk tower, they can
see a little more of the outside than Grant. They
respond like scientists: with intense absorption in the
process.
119 CORA
She responds enthralled.
120 OWENS
Up in the Bubble, he gets the unlimited view -- and he
is transfixed. For now the Miniaturizer stretches far,
far up, and the honeycombed light from the Miniaturizer
disc seems as distant as stars. The walls of the room
are barely discernible in the distance.
121 BACK TO GRANT
The final subjective reaction as with him we see:
122 CONTROL TOWER - GRANT'S P.O.V.
Far, far up, the windows of the tower have merged into
a tiny ray of light.
123 INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER
Now with Carter we get the first objective view of the
shrinking Proteus as they watch it shrink down, down,
down in the center of the Zero Module, which we see is
laced with intersecting lines. When the sub reaches
the size of a capsule about the length of a centimeter,
Carter looks down at the grid on the Technician's
Control Panel. He sees the blips on the co-ordinates
approach closer and closer until they finally merge into
one. He looks back at:
124 OUT
125 INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER
The lights at the bottom of the Miniaturizer's disc go
off. The hum stops. At this distance, the sub looks
like a speck on the floor.
CARTER
Elevate Zero Module.
126 THE ZERO MODULE - MINIATURIZATION ROOM
It starts to rise from the floor with the capsule-sub.
127 INT. PROTEUS
Grant and the others respond as the vast parquet floor
with its maze of hexagonal lines seemingly stretching
into infinity suddenly begins dropping beneath them.
The effect is that of becoming air-borne.
128 INT. BUBBLE
With Owens we get the unobstructed view: everything is
falling far, far below. The bottom of the Miniaturizer
seems an infinite distance above.
129 THE ZERO MODULE
Still rising slowly.
130 THE ZERO MODULE - P.O.V. FROM INTERIOR CONTROL TOWER
The capsule-sub is now about four feet off the floor,
on the Module. The Zero Module comes to a stop.
131 INT. PROTEUS - ON MODULE
All are sweating more profusely, showing increasing
discomfort.
132 OUT
133 INT. CONTROL TOWER
Carter turns from the window, looks at Reid, who glances
up from viewing the monitors.
REID
Okay to proceed.
CARTER
Phase Two.
134 INT. MINIATURIZATION ROOM
A panel slides open and a precision handling device is
rolled in by several WHITE-CLAD TECHNICIANS. A NURSE
follows, in uniform. The machine is fourteen feet
high, consists of pulleys on a tripod, which control
a vertical arm angling down from a horizontal extensor.
Two sets of mechanical fingers are on the vertical arm,
about a foot apart. Together they act as clamps. All
adjustments are controlled by various worm-gears. As
the tall tripod rolls by, on the side of the base we
see stamped: MIN PRECISION HANDLING, under the insignia
of the CMDF.
135 INT. PROTEUS
Grant and the others react to the first sight of the
oncoming humanbeings in relation to their own reduced
size: a button is immense, a shoe -- although far
down from their position on the Zero Module -- is long
as a city street, the heads gargantuan atop skyscraper-
tall bodies. The precision handling machine itself is
beyond recognition, owing to its vast proportions.
136 INT. MINIATURIZATION ROOM
The tripod is eased to a stop so that its vertical arm
is directly over the Proteus on the Module. A TECHNICIAN
at the gear box starts turning a worm-gear control,
which lowers the vertical arm toward the capsule-sub.
137 INT. PROTEUS
Grant reacts as huge steel fingers at the bottom of
the arm slowly slide into view. He glances at Cora
and the others. They apparently know what to expect,
but watch with the interest of scientists. The mechani-
cal fingers slowly disappear beneath the sub.
138 INT. MINIATURIZATION ROOM
The Technician maneuvers the mechanical fingers care-
fully so that they slip under the cradle of the sub,
in effect becoming its holding fork. Once the steel
fingers are in place, the Zero Module sinks below the
floor from view, while the tripod holding the Proteus
is eased back.
A-138 INT. CONTROL TOWER
A Technician presses a switch.
B-138 CYLINDRICAL AMPULE - MINIATURIZATION ROOM
A glass ampule about as tall and round as a small
silo starts coming up out of the floor on the Zero
Module. The transparent container is filled with a
clear liquid, two-thirds to the top. It rests on
an encircling cork base. The lettering at the base
reads: SALINE SOLUTION.
139 OUT
140 CYLINDRICAL AMPULE - P.0.V. PROTEUS
Grant and the others react to what appears to be
something big as an illuminating gas storage tank --
albeit filled with liquid.
141 INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER
With Carter we see the tripod with the Proteus brought
to a stop close to the saline solution.
142- OUT
143
144 INT. MINIATURIZATION ROOM
The Technician at the tripod moves it so that the claw
holding the Proteus is directly over the water in the
ampule.
145 INT. PROTEUS
Grant and the others react as they see themselves
suspended over what appears to be a huge lake far
below, bounded by cylindrical glass walls in the
distance. Reflected light bounces off the top of
the water, with iridescent effect. Suddenly they
begin to descend. Grant and the others react as they
seem to be dropping at suicidal speed toward the
water which is rushing up to meet them as if they were
in a dive-bomber. Then as the surface nears:
146 INT. MINIATURIZATION ROOM
Within the high walls of the ampule, the capsule-sub
is deposited into the water. Despite the delicate
handling:
147 INT. PROTEUS
It 'hits' the water, jarring all within, as at a launch-
ing from drydock.
148 INT. MINIATURIZATION ROOM
The Technician now begins to maneuver the mechanical
fingers out from under the sub.
149 INT. PROTEUS
Grant and the others see the gigantic steel fingers
sliding past the plastic windows.
150 INT. MINIATURIZATION ROOM
The lifting fork is now disengaged from the sub, which
floats free in the ampule.
151 INT. BUBBLE
The sub is rocking none too gently on the surface of the
vast glass-enclosed 'lake.' As Owens sees the ends of
the immense prongs move past the bubble and continue
upward:
OWENS
(down toward kiosk)
We've got to submerge manually.
Grant, open Valves One and Two
on the bulkhead.
152 INT. PROTEUS
Grant slips out of his harness and moves quickly to a
butterfly valve marked ONE in the bulkhead. On the
opposite side of the sub is a duplicate valve marked
TWO. As Grant begins turning Valve One:
DUVAL
Here -- I'll get the other.
Duval gets out of his harness and moves to the second
valve. Grant watches him covertly while working at his
own valve.
A-152 MICHAELS
As he sees the fluid rising toward the bow windows, he
begins to respond with increasing fear.
153 INT. BUBBLE
Owens' attention is on the gauges in the panel before
him. They begin recording PRESSURE and DEPTH. The
surface of the saline solution begins to flood upward.
154 INT. PROTEUS
Grant and Duval at the valves, now fully open. Through
the outer windows the water appears to move upward in
relation to the sub, which continues submerging.
A-154 MICHAELS
Face sweating, his eyes reflect growing irrational
terror as he stares at the rising fluid bubbling over
the bow windows.
155 INT. BUBBLE
As the depth gauges near the 30 mark:
OWENS
Close valves.
156 INT. PROTEUS
Grant and Duval twist the valves shut. When both are
done:
GRANT
Valves closed.
OWENS'VOICE
(from Bubble)
Right. That's all for the present.
As Grant and Duval move to their seats, Michaels opens
his harness, slips out and hangs onto the bulkhead
ledge, gasping for breath.
DUVAL
Doctor, what's wrong?
MICHAELS
I can't breathe!... I've got to
get out!
DUVAL
It's too late now. We must go on.
GRANT
You'll feel better once we're
underway.
Michaels hangs on tighter to the bulkhead ledge, trying
to control himself.
MICHAELS
(gasping)
I -- I'm sorry... Claustrophia --
buried alive -- two days -- air
raid -- England... Thought I'd
gotten over it. Please -- forgive
me... I'm quite all right now...
He sinks back into his seat. Grant helps him with his
harness.
157 INT. MINIATURIZATION ROOM
We now see the sub for the first time beneath the
surface of the saline solution: a small capsule
submerged at an even keel, about one-fourth of the way
down in the huge transparent container. The Modules
on which the ampule rests now return to floor level.
158 INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER
From his vantage point above, Carter can barely see the
capsule in the ampule. He glances at Reid, who looks
up from the monitors and nods.
CARTER
(to Technician)
Phase Three.
The Technician presses a button on the MINI panel,
activating the MIN grid. The two blips flash on again,
moving down the MINDIMEN and MINSECS co-ordinates.
159 OUT
160 THE MINIATURIZATION ROOM
Instantly the disc of the Miniaturizer trained on the
ampule begins to glow again. The light is reflected on
the entire surface of the saline solution. The low hum
resumes.
161 INT. PROTEUS
Again we first get the subjective view of the shrinking
process: Grant and the others see everything rushing
away into an immensity of distance. And all the time
the reflected light which has illuminated the interior
of the sub is diminishing. We see the reason:
162 INT. MINIATURIZATION ROOM
The objective view: the ampule has shrunk way below
the Miniaturizer. Its far smaller size reflects only
a spark of light. The sub is now only a particle,
shrinking with the ampule. The Technicians and Nurse
look on, grouped at the tripod which is beyond the
range of the Miniaturizer.
A-162 EXT. PROTEUS
As the sub shrinks to invisibility, disappearing before
our eyes:
163 EXT. AMPULE AND PROTEUS
In its now fully reduced size, we see the ampule is
actually a glass cylinder about two inches long and
half-an-inch in diameter.
164 MIN GRID - P.O.V. CONTROL TOWER
With Carter we see the two blips merge and hold.
Instantly the lights in the Miniaturizer go off. The
hum stops. A loud CLICK is heard. All look up at:
165 CLOSEUP - ELECTRIC MINUTE RECORDER
A big 60 flashes on, and holds. (NOTE: We will see
the same kind of clock, in varying sizes, in every set,
flashing on the passage of time in minutes, from now
to the end of the picture.)
166 INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER
The Zero Module now begins to rise above floor level.
The ampule, on its reduced cork base, appears very
tiny from this height.
CARTER
(to Wireless Operator)
Inform Proteus they are at Full
Reduction.
The Technician taps out the Proteus' call letters.
All wait, tense, for a response, as the tapping stops.
They react, relieved, as they hear:
167 INT. PROTEUS
Grant tapping out reply. Now, for the first time, we
get the microscopic view of what all see from their
various vantage points, distorted through liquid and
the glass walls. The light is dim, all are finding it
very hard to breathe in the unventilated craft. When
the incoming message stops:
GRANT
[LINE OF DIALOGUE CUT OFF]
168 INT. BUBBLE
Owens glances at his wrist watch. Then he flips a
switch. He watches the buttons on his panel. None
light up. There is an anxious moment. Then the myriad
lights on the panel begin to glow dully. The Minute
Recorder on the panel begins to flash 59.
169 INT. PROTEUS
The lights become brighter. Cora, Duval and Michaels
react with relief. The ventilators come on, permitting
all to breathe easier.
170 INT. BUBBLE
The buttons on the panel are now aglow. Owens makes a
test: he touches a button which spins his seat, with
the control panel before him, in a complete 360 degree
turn within the Bubble.
171 INT. CONTROL TOWER
After a brief message is heard coming in:
COMMUNICATIONS AIDE
Proteus On-Power.
With relief, Carter turns to Reid.
CARTER
It's all yours, Don.
Reid moves from the monitors, presses a button on the
Control Section.
172 INT. MINIATURIZATION ROOM
As the Technicians at the tripod hear:
REID'S VOICE
(over loudspeaker)
Phase Four.
The Technicians move the tripod so that the vertical
arm is brought directly over the ampule and lowered,
until the two sets of mechanical fingers clamp the
cylinder firmly. Then the ampule is raised a few inches
from its position on the module. The reduced cork base
still encases the bottom. The Nurse and a Technician
move to the ampule. He holds a small instrument case.
173 AT AMPULE
When they reach the clamped ampule, the Technician
opens the case. The Nurse takes out a plunger. Very
carefully, she begins to insert it into the top of the
ampule without disturbing the liquid. She then gently
pulls away the cork remaining at the base of
the ampule, revealing a small opening in the center.
But owing to the pressure above, the liquid does not
run out. She takes a needle out of the case and
carefully fits it into the nipple. We now see the
ampule is actually a hypodermic syringe.
174 INT. MINIATURIZATION ROOM - P.O.V. CONTROL TOWER
Ried and Carter watch as the tripod is carefully wheeled
across the room.
175 THE HYPODERMIC NEEDLE - MOVING SHOT
The saline solution in the cylinder is sloshing slightly,
despite the great care of those moving it.
176 INT. PROTEUS
The sub is being rocked, causing everyone to hold on
for support.
177 INT. BUBBLE
Owens is trying to keep an even keel with his controls,
now in full operation.
178 INT. MINIATURIZATION ROOM
As two big doors slide open for the tripod to pass
through:
179 EXTREME CLOSEUP - RADIAL LINES
What appears to be a myriad number of radial lines
crossing each other to form tiny squares over a domed
surface is revealed to be:
180 BENES' HEAD
Now shaved clean, the head is grid-marked for Stereo-
encephalatomic measurements. In the background, the
tripod is seen being wheeled in.
181 INT. OPERATING ROOM
Moving with the hypodermic needle clamped in the tripod,
we now get the full impact of the set: the floor is
marked off for True North and South, with latitudinal
and longitudinal lines. The modern operating table is
set so that Benes' head corresponds with the exact
position of the Arterial Head on the big grid map in
the Main Ops Room. Benes is lying under a thermal
blanket, covered up to the collarbone. Thin rubber
pipes lead out from the blanket to the Central Thermal
Unit under the operating table, out of the way of
everyone. A TEAM OF GAUZE-MASKED SURGEONS AND
ASSISTANTS stand grouped around the unconscious patient.
In a semi-circle at the head of the bed, beyond the
head, is a series of SMALL TRACKING DEVICES resembling
radio-telescopes. They are remotely controlled. The
Minute Recorder, in a prominent position, now changes
from 59 to 58.
182 INT. OPERATING ROOM - P.O.V. CONTROL TOWER
Reid and Carter are looking on. The Communications Aide
stands at his side. They see the clamped hypo rolled up
to the side of Benes' head and brought to a gentle stop.
183 BENES AND HYPO
A small circle marks the exact spot of the injection.
A SURGICAL AIDE swabs the area with alcohol.
184 CLOSE SHOT - ACTIVATOR
It is brought down mechanically by use of worm-gears
on the tripod toward the plunger, engaging it.
185 INT. CONTROL TOWER
Reid, watching the proceedings below:
REID
(to Wireless Operator)
Contact Proteus --
186 INT. PROTEUS
Grant takes down the message as it comes in. When
message stops:
GRANT
(loud enough for
Owens in Bubble)
Stand by for injection!
Suddenly the sub begins to rock hard. All hold on.
187 INT. BUBBLE
Owens is manipulating controls, trying to keep an
even keel.
188 INT. OPERATING ROOM
The hypodermic is being angled by the precision gears
of the tripod for the exact degree of injection. When
this is accomplished:
189 BIG CLOSEUP - BENES' NECK
The point of the needle approaches the exact spot, which
we now see is marked off by a tiny cross within the
circle on the Artery.
190 TECHNICIAN AT TRIPOD
He presses the mechanical activator which sends the
needle plunging into Benes' neck O.S.
191 INT. CONTROL TOWER
Instantly a warning klaxon goes off. It keeps on for
a few seconds, then stops. Into the silence:
REID
Tracking.
A Technician flips a switch.
192 INT. TRACKING POST - ON MAIN MONITOR IN CONTROL TOWER
Four TECHNICIANS are seated before their radar screens,
which show flat electronic lines, except one. This
is picking up a blip.
A-192 INT. CONTROL TOWER
A Technician at the Control Panel throws on a switch.
Another TV screen next to the Main Monitor goes on,
revealing:
B-192 CLOSE SHOT - BLIP ON TV SCREEN
Duplicating the blip seen in the Tracking Post. We
see the blip is heading down, at an angle identical
with that of the hypo. CAMERA MOVES IN on the blip,
and keeps moving until it fills our entire screen and
becomes:
193 EXT. PROTEUS - WITHIN THE HYPO
Diving at a terrific speed, steeply angled like the
hypo, through the clear saline solution.
194 INT. PROTEUS
All hold on as if riding a roller coaster at its
steepest plunge. Suddenly all goes pitch-dark.
195 INT. BUBBLE
Only the buttons are glowing, and the Minute Recorder,
which now reads 57. Owens throws a switch. Through
the plastic windows the headlights of the sub are seen
coming on. They pierce the darkness sufficiently to
catch the side of the steel wall of the needle, which is
rushing past at a tremendous speed, giving the effect
of an enclosed channel. The beams gradually reveal:
196 HOLE OF NEEDLE - P.O.V. BUBBLE
A small aperture in the distance, barely visible.
A-196 HOLE OF NEEDLE - P.O.V. PRINCIPALS IN KIOSK
Grant and the others see the opening at the end of the
needle becoming bigger and bigger, apparently rushing
toward them with great speed.
B-196 EXT. END OF NEEDLE
It fills the screen, an immense aperture in relation to
the tiny sub which suddenly comes shooting out of it.
197- OUT
198
199 MAIN OPS ROOM - P.O.V. CONTROL TOWER
Reid and Carter observe the Grid Officer, wearing head-
phones and throat mike, move up to the Arterial Map with
a tiny replica of the Proteus. He places it in the
center or the huge channel in the neck, which depicts the
Carotid Artery. The little sub is held magnetically on
the grid. The Minute Recorder now reads 56. Reid
turns from the window, moves to the Map Case, which
contains the same assortment of charts as in the sub's
kiosk. Reid takes out an OVERLAY MAP OF THE HEAD AND
NECK. He places it on a Radarscope. The blip shows it
is traveling up the Carotid Artery.
200 LONG SHOT - ESTABLISHING - PROTEUS IN ARTERY
The headbeams of the speeding sub reveal a world of
dazzling color and beauty: the Arterial Stream. The
walls of the vast amber-colored chamber are lost in
the distance. Now the screen is filled with a floating
wonderland: huge red corpuscles, whirling globules,
platelets, particles, minuscule fragments drift with the
stream, reflecting the entire spectrum of color.
201 INT. BUBBLE
Owens is slowing down the sub. He gazes in awe at:
202 ARTERIAL ELEMENTS - THROUGH BUBBLE
As the Proteus moves through the swirling conglomera-
tions, the elements are parted, flow over the sub,
bounce about it, forming new fluid galaxies in a
universe of amber. And each grouping and regrouping,
every mass and disc, though loosely linked, has a
rhythmofitsown. Thus the Corpuscular drift, the
bouncing particles, the parting and the merging achieve
a majestic choreography lyrical in quality, a fugue
of motion.
203 INT. PROTEUS
Grant and Cora, strapped in their seats, look on
enthralled at the sheer beauty of the dancing wonder-
world visible through the windows. Duval appears
equally moved. Michaels observes with more clinical
detachment.
204 INT. BUBBLE
Owens has now slowed down the sub so that it moves
slightly faster than the current, thus enabling him
to maintain maneuverability.
OWENS
You may unfasten your belts...
205 INT. PROTEUS
Grant, Cora and Duval quickly slip out of their
harnesses, move to the bow for a maximum view of the
scene. Michaels remains at the console, checking
their course on the Neck and Head chart.
A-205 EXT. PROTEUS - HEAD-ON SHOT
Approaching camera, with the three people looking out
of the bow windows in speechless wonder at what they
behold.
206 OUT
A-206 INT. PROTEUS - SHOOTING OVER THEIR BACKS
For a moment the three gaze in silent awe at the
dancing drift directly outside: nuclei are clearly
visible in the cells; variegated tiny organisms sweep
like cosmic dust through the orbits of the spinning
globules. Their first sight of the interior world,
with its beauty and rhythmic splendor has affected
them deeply. Finally breaking the silence:
DUVAL
(quietly; as he
looks on)
The Medieval Philosophers were
right... Man is the center of the
Universe... We stand in the middle
of Infinity, between Outer and
Inner Space. And there's no limit
to either.
GRANT
You mean Inner Space is endless?
DUVAL
Everything can be divided in half,
no matter how minute.
As the concept sinks in, Grant turns to look out again.
Cora has never taken her eyes off what she sees through
the bow windows.
CORA
I never...never imagined it could
be anything...like this.
GRANT
(equally awed)
I always thought it was nothing
but red.
DUVAL
Only to the naked eye.
(indicating)
Those corpuscles -- carrying oxygen
-- give the stream its color. But
the rest of the plasma's very much
like sea water. An ocean of life...
GRANT
Quite a piece of plumbing.
MICHAELS
End-to-end, a hundred thousand
miles long.
Grant reacts. Of something up ahead:
CORA
Dr. Duval -- what could those
be?
The sub is suddenly engulfed by a mass of very tiny
discs in chain-like combinations, which blot out the
rest of the stream.
DUVAL
(now the scientist)
Never saw that. Not even under
an electron-microscope.
CORA
They're much smaller than bacteria...
MICHAELS
Looks like the molecular structure
of proteins.
DUVAL
(flatly)
I don't agree. I think we ought to
stop and take a sample.
MICHAELS
That's not the purpose of this
mission.
(up at Owens)
Captain -- keep a straight course
-- until you're in the clear.
207 INT. BUBBLE
Steering by instruments, Owens remains on course, the
massed discs obstructing his view. Suddenly they float
off, revealing:
OWENS
Arterial Wall to the right!
With him we see:
208 LONG SHOT - ARTERIAL WALL
Barely visible in the spill of light, a smooth endothe-
lial wall is seen in the distance.
209 INT. PROTEUS
Michaels consults his chart, brings the co-ordinates
into place over two Arteries.
MICHAELS
(up at Bubble)
What's our speed?
OWENS' VOICE
(from Bubble)
Fifteen knots.
Michaels makes a rapid calculation with his slide rule.
MICHAELS
We should reach the Branching Artery
in two minutes.
He switches on the REPEATER.
210 INT. BUBBLE
The same REPEATER device is now active on the panel,
reflecting the chart on the console below, with Michaels'
navigational calibrators pointing to the intersecting
Artery.
MICHAELS' VOICE
(from below)
Keep the Wall at its present distance
when you turn. That'll bring you
safely into the middle of the Branch.
211 EXT. PROTEUS - IN ARTERY
It cruises for a moment through the dazzling elements,
the Arterial Wall in the distance. Then suddenly the
sub accelerates and veers off course toward the Arterial
Wall.
212 INT. BUBBLE
Owens reacts, tries to slow down the sub and steer it
back into the middle of the channel. But the speed
increases, and the sub continues being swept toward the
Wall.
213 INT. PROTEUS
Grant and the others respond to the ever-increasing
speed and the nearing Wall. They turn to Michaels,
who, too, is aware of the change.
MICHAELS
Captain -- correct your course --
and speed.
214 INT. BUBBLE
Increasingly concerned as he works the controls and
glances at the gauges:
OWENS
She won't respond! We're in some
sort of current!
215 INT. PROTEUS
Duval moves to Michaels.
DUVAL
(bewildered)
But that isn't possible.
MICHAELS
Not in a sealed vessel like an
Artery.
(up at Owens)
Captain -- something must be wrong
with your controls!
OWENS'VOICE
(from Bubble)
No -- it's a current! It's too
strong -- I can't break out of it!
216 INT. BUBBLE
Owens is trying to gain control of the sub. It begins
to vibrate. Startled, Owens peers out, trying to
determine the cause, but the beams reveal nothing ahead
but an iridescent swirl of Arterial elements which
bounce back the light. The buffeting increases rapidly.
The Arterial Wall is clearly visible to the side,
getting closer.
217 INT. PROTEUS - IN BOW
Grant and Cora exchange startled looks as the membranes
of the Arterial Wall suddenly become visible in the
spill of light from the headbeams: its connective
strands arch Gothic-like, lost in the darkness of the
vaulted enclosure. The vibrations have now increased
so that all must hold onto stanchions for support.
218 DUVAL AND MICHAELS
Gripping the console for support. Through the plastic
windows to the side they can see the Arterial Wall
looming with menacing closeness. They look at each
other, unable to fathom the cause of the now-greater
vibrations.
219 INT. BUBBLE
Owens is desperately trying to avoid a head-on collision
with the Wall, but the sub won't respond to any of his
manipulations. The Wall looms closer, the buffeting is
worse.
220 INT. PROTEUS
Smashing into the Wall directly ahead seems inevitable.
Now the connective strands almost fill the windows.
Cora closes her eyes, in anticipation of the fatal
impact. And just when a collision appears inevitable,
the sub veers, narrowly missing the cable-like strands,
thick enough to support a bridge.
221 INT. BUBBLE - PARALLEL TO ARTERIAL WALL
With Owens we see the sub swept close alongside the
Wall. It is evident the craft is out of his control,
and that whatever averted the collision has nothing to
do with his attempt to steer it. The swirling mass of
particles up ahead begins to part. The vibrations
[LINE OF DESCRIPTION CUT OFF]
222 INT. PROTEUS
Grant reacts as he sees the now-visible area ahead.
GRANT
Whirlpool!... Strap yourselves in!
He grabs Cora, and against the buffeting, moves quickly
to help her toward her seat. Duval and Michaels
instantly take their seats at the console, begin getting
into their harnesses.
223 LONG SHOT - THE WHIRLPOOL - P.O.V. BUBBLE
Owens is appalled as in the distance, in the center of
the channel, he sees what appears to be an immense
liquid centrifuge rotating at great speed, the Arterial
elements within it whipped about like the contents of
a mixmaster. Now the buffeting is reaching its climax.
The sub is inexorably approaching the rim of the whirl-
pool, with Owens desperately trying to steer away from
it.
224 INT. PROTEUS
Duval and Michaels are in their harnesses.
225 GRANT AND CORA
Slowed up by the intense buffeting, Grant is now help-
ing Cora into her seat. But before he can assist her
into the harness, the sub is caught in the whirlpool.
The instant effect is that of a Carnival Whip. The
centrifugal force flings Cora out of her seat against
the bulkhead. Grant is spun around and slammed against
the opposite part of the bulkhead, and then onto the
floor, with stunning impact.
226 DUVAL AND MICHAELS
Pinned back in their seats, unable to get out and help
as they see:
227 GRANT AND CORA
Helpless in the whiplike rotation, Cora is thrust from
the bulkhead onto the floor. Grant manages to grab a
stanchion, hold on. With his free hand he reaches out
for Cora, now prone on the floor. She extends her hand,
but a foot separates them. They desperately reach out
to each other as the centrifugal force pulls them
farther and farther apart... Grant takes the only pos-
sible chance or reaching her: he lets go of the stanchion,
which sends him slamming against the base of the seat.
He grips the leg of the seat with one hand and grabs
Cora's waist with the other, just in time to prevent
her from again being flung against the bulkhead. She
holds onto him with all her strength. Grant strains
to maintain his grip on the leg of the seat with his
free hand, which in effect holds them both against the
centrifugal whipping.
228 INT. BUBBLE - TO INCLUDE WHIRLPOOL
Owens, too, is thrust back in his seat, powerless to
move. The sub is completely at the mercy of the whirl-
pool. A gauge on the panel is registering in circles.
229 EXT. PROTEUS IN WHIRLPOOL - LONG SHOT
Rotating at great speed, a tiny piece of flotsam caught
in a cataclysmic force which is inexorably spinning it
toward the vortex.
230 INT. SUB - CUTS OF PRINCIPALS
Reacting to the ROAR of the massive turbulence and the
whirling stream, which is seen through the windows. The
centrifugal force keeps them pinned to their positions,
with Grant holding onto Cora as before.
231 EXT. PROTEUS - NEARING VORTEX
It is whipped around and down in the final circle --
and disappears through the rapidly rotating center...
232 INT. PROTEUS
The steeply angled dive causes greater strain on Grant
as he keeps his grip on Cora. Duval and Michaels are
now thrust forward as if they were in a gondola of a
shoot-the-shoots making its steepest descent.
233 INT. BUBBLE
In a similarly forward-tilted position, with Owens we
see the stream whipping by in a seemingly endless drop.
And then ahead there suddenly appears:
234 LONG SHOT - FISSURE IN ARTERIAL WALL - P.O.V. BUBBLE
An immense crack through which some red corpuscles are
streaming in an eddy.
235 INT. PROTEUS
From their prone positions on the floor, Grant and Cora
react to the huge fissure looming through the windows.
Duval and Michaels exchange looks, suddenly realizing
what it signifies. Now the immense crack is directly
ahead.
236 EXT. PROTEUS - FISSURE FROM WITHIN VEIN
As the tiny sub is swept out into the stream, where the
blue corpuscles are. Through the crack, a stream of
red corpuscles are whipping by on the other side. The
angle of the dive now becomes less oblique.
237 INT. BUBBLE
The sub is caught in a less turbulent current, which
results in its gradually losing its angle and speed,
permitting Owens to steer it away from the center toward
a more placid area.
238 INT. PROTEUS
The sub is now level, moving much slower. Exhausted
from the ordeal, Grant sees it is safe to let go of
Cora. He helps her rise. She stares dazed at the
bluish stream. Duval and Michaels, equally spent,
begin to get out of their harnesses.
A-238 EXTREME CLOSE SHOT - BENES' NECK
PAN over to the Miniature Tracking Devices.
B-238 TWO RADAR SCREENS - INT. TRACKING POST - MAIN OPS ROOM
The blip goes from one machine to the other, where it
doesn't belong. The Tracking Technician reacts,
instantly presses a button.
239 INT. CONTROL TOWER
A warning buzz from a TV Monitor. Reid and Carter
respond to the SOUND. The Communications Aide comes
over to them.
COMMUNICATIONS AIDE
Proteus Off Course, sir. They've
picked up a blip in Quadrant 23,
Level B.
Reid moves quickly to the window overlooking the Main
Operations Room, followed by Carter.
240 OUT
241 MAIN OPS ROOM - P.O.V. CONTROL TOWER
Both see the Grid Officer below move the replica of
the sub from the Carotid Artery to another channel
near it within a quadrant marked 23. The channel is
outlined in blue.
REID
(jolted)
They've crossed over into the
Jugular Vein!
CARTER
That can't be -- there's no direct
connection between the two --
REID
Normally not. Unless it's an Arterio-
Venous Fistula --
242 INT. PROTEUS
Grant, Cora and Duval are grouped around Michaels at
the chart. In the distance, the endothelial walls of
the Jugular Vein are vaguely visible.
GRANT
(blankly)
A what?
MICHAELS
A forced joining of an Artery and
Vein. Must've happened when Benes
was hurt.
DUVAL
Yes, a fistula too small to show up
on the X-rays.
CORA
But big enough for us...
In the stream outside, the bluish corpuscles are
increasing in number.
MICHAELS
(up at Bubble)
Captain -- head back into the Artery.
243 INT. BUBBLE
As if it were a suicidal order:
OWENS
(brooking no argument)
We could never fight that current --
it's physically impossible.
MICHAELS' VOICE
(from below)
Then don't drift down further.
OWENS
I'll do what I can.
As he manipulates the controls:
244 INT. PROTEUS
GRANT
If we can't go back, is there an
alternate route?
MICHAELS
Yes... We can go forward on this
course, but it means going directly
through the Heart.
245 INT. BUBBLE
Owens is appalled as he sees the route being traced on
the Repeater, down the Jugular Vein toward the Heart.
Before it can go any further:
OWENS
(alarmed)
We can't do that! We decided in
the Briefing -- the craft could
never stand the turbulence!
246 INT. PROTEUS
Michaels looks up from the chart, to the others.
MICHAELS
Yes, it would be a hundred times
worse than the whirlpool.
The others respond with grim realization of what it
portends.
GRANT
That's just dandy. We can't go
forward -- and we can't go back.
MICHAELS
I'm afraid there's only one thing
we can do. Call off the mission.
CORA
(emotionally)
Doctor...you can't mean that! Not
when we've come this far. And if
we give up, there'll be no way of
saving Mr. Benes --
DUVAL
Dr. Michaels is right. We have no
choice.
MICHAELS
(to Grant)
Tell them to take us out.
GRANT
If there's any chance --
MICHAELS
(an order)
Request removal, Mr. Grant.
As Grant moves to the wireless:
247 INT. CONTROL TOWER
Carter and Reid are looking down into the MAIN OPS ROOM
at the replica of the Proteus. It is in the same
position as last seen in the Jugular Vein on the big
grid.
REID
But we have no choice! We've got
to take them out!
CARTER
(adamantly)
No...
He turns away from the window as a message is heard
coming in. With seeming unawareness of the incoming
message, Carter looks at the Minute Recorder. It is
flashing 51.
CARTER
We still have fifty-one minutes.
Leave them in.
REID
But it's hopeless! They can't go
back and they can't go on. I tell
you there's nothing else we can do
but remove them!
CARTER
(the final word)
Not until the very last second. We
must think of something... Something
to save the situation.
The incoming message stops. The Communications Aide
takes it from the Wireless Technician.
COMMUNICATIONS AIDE
(reading)
Proteus reports trapped in Venous
System. Requests removal, sir.
REID
Well, there it is... What do I tell
them, General?
Carter turns his back on him, moves to the window,
stands looking down on the OPERATING ROOM. The scene
below is almost a tableau, except for the moving
Miniature Tracking Devices. The Surgical Team around
the table stands watching, waiting. Benes lies
motionless. Reid joins Carter. As they both look
down at the patient, whose only chance of life is now
in their hands:
CARTER
(finally)
Doctor...without killing him -- how
long could we stop his heart?
REID
The less time, the better.
CARTER
I know that. But what's the maximum?
REID
In his comatose state...and every-
thing slowed down...no more than
sixty seconds.
Carter takes out a slide rule.
CARTER
(as he figures)
At top speed...and adjusting
distance for Degree of Miniaturi-
zation --
(getting answer)
The sub should get through the
Heart in fifty-seven seconds.
REID
That would give us only three
seconds to revive him...
CARTER
What are the problems in stopping
the Heart?
REID
Nothing -- compared to starting it
up again.
From the window, Carter can see the big Minute Recorder
in the Operating Room flashing from 51 to 50.
CARTER
We're wasting time, Colonel. Let's
get on with it.
The decision made, Reid takes command.
REID
(to Technician)
Heart.
Technician presses monitor button. As Carter moves to
the Communications Aide, the HEART POST flashes on the
TV screen.
REID
(to Heart Post)
CardiacRedAlert -- we're stopping
the Heart.
CARTER
(to Communications
Aide)
Message to Proteus.
Now both give their orders simultaneously. As Reid
speaks, we can see the HEART POST swing into action
on the TV screen: the big X-rays of Benes light up
on panels, a CATHODE TUBE recording his heartbeat
becomes activated. The Heart Specialist and several
Heart Technicians are seen leaving the POST. Mean-
while, the Communications Aide is taking down Carter's
message for transmission.
CARTER REID
You are heading in the An Arterio-Venous Fis-
opposite direction of tula has forced the
the Target Area, as a Proteus into the Venous
result of crossing over System. At this
into the Jugular Vein. moment, it is in the
Since you are in a Lateral Cervical Region,
closed system, you will anterior to the Cervical
have to go through the Plexus. The haemo-
Heart and proceed on dynamics of the
your mission by taking Venous System are at
an alternate route. We absolutely minimum
will stop Benes' Heart levels. It would be
for exactly sixty seconds. fatal to further decrease
Maintaining maximum speed, the rate of flow by
you will get through in Hypothermic means. In
fifty-seven seconds. order to minimize the
That will give us three turbulence, we will have
seconds to spare in which to arrest the Heart.
to revive him. Stand by The Proteus will proceed
for exact instructions -- to the entrance of the
Right Atrium --
248- OUT
250
251 INT. OPERATING ROOM
Reid's Voice is heard as the Heart Technicians rig Benes
for electric shock with a Cardio-Verter. They are
removing the top third of the Thermal Blanket. When
his chest is exposed, they apply electrodes to it.
Then the Technicians take their places at the various
Cardiac Instruments which are recording the pulse and
configuration of the heartbeat. The last is visible
on the big cathode tube of the Cardioscope, a replica
of which was seen in the Heart Post.
A-251 INT. PROTEUS
All are listening to Grant reading the end of the
message.
GRANT
-- at which point the Heart will
be stopped by electric shock.
CORA
(into the silence)
And if it should take more time to
get through --
DUVAL
(flatly)
We can't take a second more.
MICHAELS
(up at Bubble)
Captain -- head in the direction of
the flow and drift with it.
He takes out a detailed Cardiac Map.
252 INT. BUBBLE
Through the Repeater, Owens can see Michaels spread out
the Cardiac Map. He reacts to its great complexity.
OWENS
I'll never find my way through that.
MICHAELS
I'll guide you, once we're in the
Heart.
253 EXT. PROTEUS
Drifting down the Jugular Vein.
254 OUT
255 INT. MAIN OPS ROOM
The Grid Officer can be seen moving the replica of the
Proteus down the Jugular Vein.
A-255 INT. CONTROL TOWER
Carter and Reid are looking down at Benes in the
OPERATING ROOM.
256 INT. OPERATING ROOM
Benes is now rigged for electric shock. The Tracking
Devices are concentrated on his chest. The Heart
Specialist looks at the Cardioscope Screen. The big
screen registers the beat of the Heart with a cathode-
tube effect, each pulsation causing an electronic
pattern. They are very slow, regular. The Heart
Specialist nods to one of his Technicians who wears
headphones. The latter presses a button.
257- OUT
260
261 INT. CONTROL TOWER
A warning buzzer SOUNDS. The Communications Aide moves
up to Reid and Carter at the Tracking Station Monitor
and Radarscope.
COMMUNICATIONS AIDE
Ready for Cardiac Shock...
Reid nods, acknowledging the message. As he removes
the map off the Radarscope, Carter takes out an OVERLAY
MAP OF THE HEART from the Map Case and places it on the
Radarscope. The blip is seen progressing down the
Vena Cava, leading to the entrance of the Heart.
REID
(pressing button)
Stand by.
Carter takes out a stop watch.
262 OUT
263 INT. PROTEUS
Grant and the others respond as they begin to hear the
SOUND of a distant boom-boom, slow and measured. It
has an ominous effect. It quickly gets louder during:
CORA
(in awe)
Listen...the Heart.
MICHAELS
Yes...slowed down a great deal.
GRANT
Sounds like heavy artillery...
MICHAELS
It lays down quite a barrage in a
lifetime. Forty million beats.
DUVAL
(quietly)
And every beat separates a man from
[LINE OF DIALOGUE CUT OFF]
264 EXT. PROTEUS - IN VENA CAVA
The SOUND of the Heart is now very loud, each measured
boom like heavy artillery in a relentless barrage.
The headbeams illuminate the long passage, the walls
of which are lost to view.
265 INT. PROTEUS
Grant and the ot
