Young Writers Society

This is a script for my "Summer film" called "Tailwind". It is based in ww2 and mainly takes place aboard a junkers trimotor passenger plane. I'll won't exsplain the story as hopefully you will find it out for yourself. I hope you enjoy reading this script, I have wrote many scripts before but this is my first posting and I would love any feedback. Thank you, enjoy!

“TAILWIND”

Written by

[Lewis B.]

[LAB AN] FIRST DRAFT

June 9, 2008

"TAILWIND"

FADE IN:

A beautiful plane of sky glistens in the sun light.

SUBTITEL:

Spring 1944

A transparent letter appears on screen, we hear a well spoken voice reading it, it reads:

G. Taylor

As you are aware the allied liberation is imminent. Europe has seen massive destruction to its towns and people.

(Stills of the destruction in France Nazi troops replace the image of the letter)

However with the largest offensive ever seen since the war began, Europe will soon be freed from this ruthless foe, but for this to be a success we need as much information as possible. That is why we have called on you, your expertise and ability are just what the resistance is looking for, we need you to rescue a fellow leader of the resistance, should this operation be a success it will be infallible to the war efforts. However you cannot carry out a mission on this scale alone, you will need assistance, for that you will need to locate it yourself but do not delay, In short you are our last hope

A spitfire whooshes through the frame.

A Dog fight rages in the sky, a Messerschmitt 108 duels with a hawker hurricane. Piloting the Hawker Hurricane is Alex Young, a highly skilled flying ace. Young manages to out fly the 108 and shoots it out of the sky.

1. EXT RUNWAY – DAY

The Hawker Hurricane taxis down the runway.

2. SFX SHOT - INT HURRICANE COCKPIT – DAY

Young slowly taxis the plane along the runway.

3. EXT RUNWAY – DAY

The aircraft rolls down the airfield.

DISSOLVE:

4. EXT AIRFIELD – TRACKING SHOT – DAY

The Camera follows Alex’s shoes as they walk along the grass, slowly the camera tilts up to see Alex’s upper body and eventually his head. He is carrying is rolled up jacket under his arm. He is wearing an RAF uniform.

DISSOLVE:

5. SFX SHOT - INT YOUNG’S ROOM – MED SHOT – DAY

Young enters his room and shuts the door.

6. MED SHOT

Young walks over to his bed and lies down on it. He exhales with exhausted and rubs his face. He shuts he eyes.

CUT TO:

7. CLOSE SHOT

A phone on a table begins to ring.

CUT TO:

8. Alex looks at the phone and hosts himself up. He rubs his face.

CUT TO:

9. The phone keeps ringing; Young’s hand reaches for the phone and grabs it.

10. MED SHOT

Young sits down and puts the receiver to his ear.

YOUNG

Flight Lieutenant Young, here

11. INT CO’S OFFICE – CLOSE SHOT – DAY

A strapping officer looking very smart is at the other end of the line.

CO

Good show Young, you showed those Jerry’s what fore.

CUT TO:

12.

YOUNG

Thank you, sir.

CUT TO:

13.

CO

Yes this squadron is defiantly improving since you joined. Anyway I’m just informing you that your leave has gone through.

CUT TO:

14.

YOUNG

Thank you, sir; I’ve been counting the days.

CUT TO:

15.

CO

Yes well you deserve it, so pack your bags your car will be here next hour or so.

CUT TO:

16.

YOUNG

Excellent I can’t wait to get home, thank you again sir.

CUT TO:

17.

CO

That’s perfectly alright, have a good time and well see you when you get back.

(He puts down the phone)

CUT TO:

18. Young puts the phone down, he thinks for a brief moment and then stands up, he turns round and reaches into his cupboard next to him.

19. MED SHOT OF BED

A suit case lands on the bed along with some clothes and a pair of shoes.

DISSOLVE

20. Young shuts the case and picks it up out of shot.

21. FULL SHOT OF ROOM

Young puts the case by the side of his table. He then walks over to his cupboard and reaches inside. He pulls out a bottle of whisky. He looks at the bottle.

22. CLOSE SHOT

Young looks at the bottle and smiles. He opens the top and takes a sip. He pulls it away from he mouth and smiles again.

23. CLOSE SHOT

Young slips the bottle in to his RAF jacket pocket.

24. MED SHOT

Young pulls his sleeve back and looks at his watch briefly, he rolls his sleeve back down and walks out of shot.

25. MED SHOT

Young walks up to his bed and reaches under his pillow.

26. CLOSE SHOT

Young reaches under his pillow and pulls out some letters.

27. CLOSE SHOT

On the letter envelops “Dearest Alex” is written on them in ink.

28. CLOSE SHOT

Young looks at the letters and smiles. He walks out of shot.

29. FULL SHOT OF ROOM

Young places the letters into his pocket and picks up his case. He walks towards his door.

30. SFX SHOT - CLOSE SHOT

Young takes a quick look around his room and then leaves and closes the door.

31. SFX SHOT - EXT AIRFILED – LONG SHOT – EVENING

Young walks straight through frame.

32. EXT STY – LONG SHOT - EVENING

Young walks up to the sty.

34. MED SHOT

Young puts his case down and leans against the sty. He looks ahead. A voice is herd off screen shouting at Young.

PILOT

Have a good leave Young!

Young turns and looks, he waves at the pilot, the sound of an Austin car begins to fade in. Young looks ahead of him. He jumps over the sty.

35. SFX SHOT – EXT LANE – LONG SHOT – EVENING

A car pulls rolls up; Young enters lands into frame and waits for the car to roll up. The car parks onto a grass verge on the other side of the road. Young walks towards the car.

DISSOLVE

36. SFX SHOT – INT CAR – NIGHT

Young is sat in the back of the car. He is looking out of the side window; he then looks a head of him.

YOUNG

Here will do driver.

DRIVER

Very good sir.

The car pulls onto a verge and stops. Young moves over and gets out of the car.

DISSOLVE:

37. CLOSE SHOT

Beer rushes into a pint glass.

DISSOLVE:

38. CLOSE SHOT

Money is exchanged.

DISSOLVE:

39. MED SHOT

Young sits down with his pint and gets settled. He then takes a sip. He runs his finger over the top of his glass.

CLOSE SHOT

40. Young’s finger slowly circles the rim of the glass.

41. CLOSE SHOT PROFILE

Young thinks with disappointment, he looks into his glass.

42. SFX SHOT – CLOSE SHOT

Slowly the back ground ambiance fades away and the sound of a dog fight gets louder, suddenly, inside the troth of the beer a dog fight appears.

43. CLOSE SHOT PROFILE

Young with fear pants and shuts his eyes. He thinks and then looks back down at his drink. The dog fight sound fades away.

44. CLOSE SHOT

The dog fight has disappeared from young’s drink.

45. CLOSE SHOT PROFILE

Young calms himself down.

46. MED SHOT

Young shakes off his vision and clams himself down, he then reaches into his side pocket. He pulls out a pad of paper, he places it on the desk and the searches his person for a pen, he find one and then begins writing on the pad.

47. CLOSE SHOT

Young begins to write:

To my dearest Jennifer, I’m now on leave and I’m making plans to come up to see you…

48. CLOSE SHOT

A face is watching Young, the nail of the thumb is in the person’s mouth and his eyebrows are dropped down to the eye lids.

VOICE OVER

Due to the nature of this operation you will need to seek someone of great flying experience, who will help fly you to the destination.

CUT TO:

49. MED SHOT

Young keep writing his letter.

CUT TO:

50. The man pulls his thumbnail out of his mouth and with his whole palm, he rubs his face. He continues to gaze at young; he slowly takes a sip of beer. He leans out of shot.

51. CLOSE SHOT PROFILE

Young finishes his letter and places it into his jacket pocket. He takes one last sip of beer.

52. CLOSE SHOT

Young places his beer back on the table. Inside the beer a pair of feet appears. The back ground then dissolves into the tracking shot of the feet.

52 A. TRACKING

Continuing from the pervious shot. Young feet walk down a lane at night.

53. EXT LANE – CANTED LONG SHOT – NIGHT

Young walks down the lane and disappears into the darkness.

54. TRACKING

Young walks down the lane but then looks down at his feet.

55. TRACKING

The shoelace on his shoe is flying everywhere, Young stops walking.

56. MED SHOT

Young looks down and then reaches down to tie his lace.

57. HIGH ANGLE

Young begins to tie his laces when the sound of footsteps getting closer is herd.

58. CLOSE SHOT

Young looks ahead of him while still tying his laces. The footsteps get ever louder.

59. CLOSE SHOT

Young finishes tying his lace and stands, there is a brief pause then the feet move away.

60. TRACKING

Young slowly walks down the lane, ever aware that someone is following him.

61. CLOSE SHOT

Young’s feet walk right through frame. The shot holds and shortly after some other feet follow.

62. LONG SHOT

Young walk towards the camera with a shadowy figure behind him. Suddenly, young stops and gabs the shadowy figure.

63. MED SHOT

Young wrestles with the figure and then punches him in the face, the figure falls to the ground.

64. HIGH ANGLE

The figure falls to the ground with his back to camera.

65. LOW ANGLE

Young looks over the fallen man.

YOUNG

Why are you following me, who are you?

CUT TO:

66. The figure rolls over and looks up at Young, it is the same person as the man in the pub. He has a noise bleed and is rather startled but he keeps his composure.

MAN

Please don’t worry (coughs) I mean no harm, not that I could do anything anyway with a fist like that.

CUT TO

67. Young looks surprised at the man.

YOUNG

Who are you?

CUT TO:

68. The man turns himself fully over.

GEORGE

George…George Taylor (he hands out his hand)

Please to meet you, Flight lieutenant Alex Young.

CUT TO:

69. Young looks shocked.

YOUNG

How do you know that?

CUT TO:

70.

TAYLOR

Well help me up and I’ll explain.

71. CLOSE SHOT

Taylor’s hand is reaches firmly out, Young cautiously grabs Taylor’s hand and helps him up.

72. LOW ANGLE

The two men stand ominously over the camera.

YOUNG

So how do you know my name?

TAYLOR

I know a lot about you, I know what squadron you’re in, your wing commander, where you like to drink, how may sorties you have been on, even your favorite colour.

YOUNG

Prove it.

TAYLOR

Blue.

YOUNG

What?

TAYLOR

Blue, your favorite colour.

YOUNG

Are you spying on me?

73. CLOSE SHOT

Taylor chuckles to him self.

TAYLOR

In a way yes, but don’t worry its perfectly on the level, listen…I here your pretty handy with an aircraft, word is your one of the best flying aces in the royal air force, because of that fact I have a job for you.

74. CLOSE SHOT

YOUNG

Sorry I can’t leave, it’s against regulations.

CUT TO:

75.

TAYLOR

Yes I do know, but I also know you’re not happy there?

CUT TO:

76.

YOUNG

How do you know that?

CUT TO:

77.

TAYLOR

The way you were acting in the pub.

CUT TO:

78.

YOUNG

Yes well no one is happy in the air force or the army or navy for that matter, anyway I’m not interested good night.

(He turns and walks away)

79. MED SHOT

Young begins to walk away when Taylor shouts:

TAYLOR

What if I could get you out of the air force?

Young stops and thinks.

YOUNG

That’s impossible, they would never let me go, we are short on pilots as it is.

78. CLOSE SHOT (SILHOUETTE)

TAYLOR

I have authority from both your wing commander and squadron leader plus permission from Marshal of the Royal Air Force Lord Portal.

79. MED SHOT OVER SHOLDER

Young re-enters frame and looks at Taylor.

YOUNG

Really, how have you managed that?

TAYLOR

That’s of no importance…

CUT TO:

80. CLOSE SHOT

TAYLOR

…but what I need of you is.

CUT TO:

81.

YOUNG

(He thinks for a moment)

Ok what is it you need me to do?

CUT TO:

82.

TAYLOR

I can’t tell you much but if we pull it off it will do a great deal for the war effort and it means you never have to step foot inside a plane again.

CUT TO:

83.

YOUNG

What is it you want me to do?

84. CLOSE SHOT

Taylor hands over a card to Young, Young takes it.

TAYLOR

Meet me here tomorrow…

85. MED SHOT OVER SHOULDER

Young looks at the card

TAYLOR

…morning, 6am I’ll explain everything then.

86. EX CLOSE SHOT

The Card reads:

Ford test airfield, Gresham lane, Hampshire.

87. LOW ANGLE

Again the too men are very prominent in frame.

YOUNG

Ford test airfield?

TAYLOR

That’s right, I’ll see you tomorrow, good night young.

(He quickly leaves frame)

88. CLOSE SHOT

Young is looking at the card when slowly he raise his head and watches Taylor disappear in the darkness.

CUT TO:

89. LONG SHOT

Taylor walks swiftly off and disappears into the darkness.

CUT TO:

90. Young watches and then looks at the card, he slips it into his pocket and then looks back down the lane, he then turn and heads off in to the darkness.

FADE:

91. SFX SHOT - EXT AIRFEILD - CLOSE SHOT – DAY

We see a the address card that young is holding, he pulls it down and behind the card is a sign on the airfield reading FORD TEST AIRFIELD

92. CLOSE SHOT

Young looks at the sign and then walks off camera.

93. LONG SHOT

Young walks towards the camera and looks ahead of him.

94. SFX SHOT – LOW ANGLE

Taylor is shouting up to the cockpit of a Ford tri-motor aircraft.

TAYLOR

Make sure its good for a couple runs, I don’t want to end up rowing the tail home.

Taylor looks to his left and notices Young.

CUT TO:

95. CLOSE SHOT

Young stops walking and looks ahead of him.

CUT TO:

96. SFX SHOT

Taylor smiles and walks off camera.

CUT TO:

97. Young looks at the plane and thinks for a moment.

CUT TO:

98. TRACKING

Taylor’s feet walk along the tarmac swiftly.

CUT TO:

99. Young watches as Taylor gets nearer.

CUT TO:

100. Taylor’s feet draw ever closer.

CUT TO:

101. Young sucks in his mouth.

102. SFX SHOT - MED SHOT

Young has his back to camera, Taylor heads towards to greet him and behind is the ford aircraft. Taylor walks up to young and they stand side onto the camera. Taylor shakes young hand.

TAYLOR

I’m glad you made it Young, we can’t carry out our objective without you.

YOUNG

That’s fine but I’d like to know what your objective is.

TAYLOR

Our objective Young, our objective.

YOUNG

Its not mine until you explain what exactly we are doing.

TAYLOR

Do you think you can fly that?

YOUNG

Yes, of course but…

They walk towards the aircraft.

TAYLOR

(Interrupting)

Lets get you aboard to familiarize yourself with its operations.

YOUNG

I’m not getting aboard until I know exactly what your objective is.

103. SFX SHOT – LOW ANGLE MED SHOT

The two men our off camera, all we can see is the noise of the plane.

TAYLOR

All in good time, first we need to see how you can handle this aircraft.

The two men enter frame.

YOUNG

(Angrily)

I can fly it just fine!

They stop

YOUNG

Just tell me, now! What are we doing, what is our objective?

TAYLOR

I said all in good time…..

YOUNG

(Interrupting)

No! I’m not getting on that plane (He points to the plane) until I know exactly what your doing, and what its got to do with me.

CUT TO:

104. SFX SHOT – CLOSE SHOT

Taylor thinks.

TAYLOR

Very well, over in France, in a small village is a leader of the resistance forces. He has escaped from a POW camp and it is vital he returns to England.

CUT TO:

105. SFX SHOT – CLOSE SHOT

Young looks shocked.

YOUNG

You mean were are to fly straight through enemy lines risking our lives and a valuable plane, just to pick up one man?

CUT TO:

106.

TAYLOR

In a matter of speaking, but we won’t be flying straight through enemy lines. We will fly to a small airstrip in Ireland and the refuel, then we will fly straight to Spain, and then from there we will fly over to France and land in a field far away from Nazi operations then we wait for a signal.

CUT TO:

107.

YOUNG

Is this man really worth it?

CUT TO:

108.

TAYLOR

Every life is worth it, now I’ll be flying as your co-pilot and navigator. We shall be leaving in three hours.

CUT TO:

109.

YOUNG

(Shocked)

Three hours?

TAYLOR

Yes, but its fine you had to scramble in far less time…

CUT TO:

110.

TAYLOR

…your use to a speedy take off, (he smiles and leaves frame)

DISSOLVE

111. MONTAGE

A) The starboard proper begins to turn, dissolve

B) The main noise prop begins to spin too, dissolve

C) Finally the port prop joins the others.

112. SFX SHOT EXT AIRFIELD (LOOKING INTO COCKPIT) DAY

Young looks at the propellers out side his window then ahead. The plane pulls away.

DISSOLVE

121. SFX SHOT – POV - CAMERA ON PLANE ROOF

The plane rolls down the runway.

122. INT COCKPIT – DAY

The two men grip the controls as the plane barrels down the runway.

123. POV COCKPIT WINDSCREEN

The plane saws into the sky.

124. the men lean back as the plane launches into the sky.

125. SFX SHOT - EX LONG SHOT

The plane zooms from bottom right into the sunrise.

DISSOLVE

126. SFX SHOT – EXT SKY – DAY

The plane gently bounces on the wind.

127. INT COCKPIT – MED SHOT – DAY

Young watches out of the window.

CUT TO:

128. POV FRONT WINDOW

The planes fly through some clouds.

CUT TO:

129. Young glances over to Taylor

CUT TO:

130. SFX SHOT MED SHOT SIDE ON

Taylor is working on some paper.

CUT TO:

131. Young looks back ahead of him and continues to fly the plane.

132. SFX SHOT - EXT SKY – DAY

The plane continues on its path.

DISSOLVE

133. CLOSE SHOT

Taylor slowly draws a line over island in order to establish there heading.

VOICE OVER

Once you arrive in Ireland you are to flash the single so the ground crew can re-fuel the aircraft.

134. MED SHOT

Taylor looks at his map and then nods to himself.

TAYLOR

Good! We should only be about ten minutes from the airfield, keep an eye out for it.

135. CLOSE SHOT

Young looks a Taylor

YOUNG

Very well.

136. SFX SHOT – EXT OUT SIDE PLANE - DAY

Young looks out of his window.

137. CLOSE SHOT

Taylor is looking out of his window when he sees the airfield.

138. FULL SHOT

Both men are looking out of their side windows.

TAYLOR

There it is, take us down.

Young banks the plane.

139. CLOSE SHOT

The wheel turns into the banking direction.

140. SFX SHOT – EXT SKY – DAY

The aircraft banks out of shot.

141. SFX SHOT – INT COCKPIT – MED SIDE SHOT

Taylor looks as the plane nears the runway.

142. SFX SHOT – EXT RUNWAY – EX LONG SHOT

The plans slowly turn onto the runway path and levels out, it beings its landing.

143. TRACKING SHOT

The felids roll underneath the plane.

144. INT COCKPIT – FULL SHOT - DAY

Both men jerk upwards as the plane hits the ground. They keep jumping up and down as the plane rolls along the runway.

DISSOLVE

145. SFX SHOT – EXT RUNWAY – WIDE SHOT

The plane is now taxing along the runway, it gently rolls to a stop.

146. INT COCKPIT – DAY

Young turns the engine off and Taylor looks at him.

TAYLOR

Good job Alex.

CUT TO:

147. CLOSE SHOT

Alex exhales and rubs his head, he turns to Young.

YOUNG

(Tired)

No problem.

CUT TO:

148. CLOSE SHOT

Taylor smiles, he reaches for the control panel.

149. EX CLOSE SHOT

Taylor flicks a switch on the control panel, he keeps switching it up and down.

150. CLOSE SHOT

Taylor looks up towards the ceiling.

151. EXT RUNWAY – MED SHOT OF PLANE ROOF – DAY

A light on top of the plane flashes mores code.

152. INT COCKPIT – CLOSE SHOT – DAY

Taylor keeps looking up and then he looks out of his side window.

153. SFX SHOT – MED SHOT – SIDE ON

Taylor stops flicking the switch and looks out of his side window, outside the window in the distance a rundown shed lies in substitution for a tower. A flashing light appears from outside the shed and a truck draws out from behind the shed.

154. FULL SHOT

Taylor looks at Young and begins unbuckling his seatbelt.

TAYLOR

Remain here until I say it is safe to leave the cockpit, understand?

YOUNG

Perfectly.

TAYLOR

Good, now I won’t be a moment.

(He reaches over and starts to pull back the curtain)

155. EX CLOSE SHOT.

As Taylor stands a wallet falls out of his jacket pocket.

CUT TO:

156. CLOSE SHOT

Young watches the wallet fall.

CUT TO:

157. CLOSE SHOT

The wallet falls onto the cockpit floor.

CUT TO

158. CLOSE SHOT

Young looks back at Taylor.

CUT TO:

159. SFX SHOT – MED SHOT SIDE ON

Taylor leaves the cockpit, oblivious that the wallet has fallen out of his pocket.

CUT TO:

160. CLOSE SHOT

Young listens as Taylor makes his way down the metal cabin, the sound of his metallic footsteps can be herd getting further away. Once Taylor’s foot steps have stopped young rushes to grab the wallet.

CUT TO:

161. Young garbs the wallet off the floor and picks it up.

CUT TO:

162. Young come settles back into his seat and carefully looking around to make sure no one can see him, gently opens the wallet.

CUT TO:

163. EX CLOSE SHOT

The wallet opens to revel a German passport, inside is a picture of Taylor in German Luftwaffe uniform.

CUT TO:

164. Young looks in shock at the pass port.

CUT TO:

165. the picture is in full frame and it clearly shows Taylor as a German officer.

CUT TO:

166. Young continues to look at the wallet, he is now very confused and scared. Suddenly out side the plane Taylor’s voice is herd shouting, Young jumps.

TAYLOR

We are going to be here a bit long Young!

Young recovers himself and then looks out of his side window.

167 SFX SHOT – EXT AIRFELID – DAY

Young gazes down at Taylor who is looking up at him in the window.

TAYLOR

We seem to have damaged our port wing, it will take a few hours for them to repair it.

YOUNG

So what do we do?

TAYLOR

Well I suggest you come and take a gulp of the Irish air.

168. INT COCKPIT – CLOSE SHOT – DAY

Young shouts out the window:

YOUNG

Very well!

He thinks and then looks at the wallet. He put it into his pocket and begins to leave the plane.

DISSOLVE:

169. EXT FELID – LONG SHOT – DAY

Taylor is laid down with his jacket open, Young is sat against the tree with his arms resting on his knees. He is chewing a blade of straw. Both men are very relaxed.

170. MED SHOT

Young takes the piece of straw out of his mouth and throws it away. He breaths in heavily as if a thought as just entered his mind.

CUT TO:

171. MED SHOT

Taylor’s eyes are closed.

TAYLOR

Penny for your thoughts.

CUT TO:

172. Young briefly looks at Taylor and then back ahead of him.

YOUNG

What? Oh nothing I was just thinking.

CUT TO:

173.

TAYLOR

Don’t! you’ll need to think later.

CUT TO:

174.

YOUNG

No I was just thinking of home, and Jennifer, I was planning to see her before I went back.

CUT TO:

175.

TAYLOR

Where dose she live?

CUT TO:

176.

YOUNG

Lancashire.

CUT TO:

177.

TAYLOR

That’s a bit of a trek from Hampshire.

CUT TO:

178.

YOUNG

Yes, I don’t get to see her much. How about you? Have you any family?

CUT TO:

179.

TAYLOR

(He opens his eyes)

Yes. I wife and two daughters…and a cat named Morris.

CUT TO:

180.

YOUNG

(He sniffs a laugh)

Where are they?

CUT TO:

181.

Suddenly a black shroud cover Taylor’s emotion and his face expression drops. He looks at his watch.

TAYLOR

I think we had better head back, we need to leave soon.

(he stands)

CUT TO:

182. Young is intrigued but confused, he watches as Taylor walks right past him. He think for a moment and then stands up.

183. WIDE SHOT

Taylor walks swiftly into the distance. Young rises up and runs after him.

DISSOLVE:

MONTAGE

A) The main prop begins to spin

DISSOLVE

B) The plane flies over camera

DISSOLVE

C) The wheel moves side to side

DISSOLVE

184. INT COCKPIT – EVENING

Young is again flying the plane and Taylor is writing notes. Young yawns.

185. MED SHOT

Taylor looks at Young

TAYLOR

Ok I’ll take her tonight you get some rest.

CUT TO:

186. MED SHOT

Young keeps looking ahead.

YOUNG

No its fine I’ve got her.

CUT TO:

187.

TAYLOR

You have been flying since we started, its time you got some rest.

CUT TO:

188.

YOUNG

Its fine I have her.

CUT TO:

189.

TAYLOR

I don’t want to end up in the drink, now as an order, I’m taking her, at least until you get six hours.

CUT TO:

190.

YOUNG

If that is an order?

CUT TO:

191.

TAYLOR

It is.

CUT TO:

192.

YOUNG

Ok very well.

CUT TO:

193.

TAYLOR

(He clutches the controls)

You get some rest.

CUT TO:

194. Young gets himself comfortable and slowly goes to sleep.

195. FULL SHOT

Young is asleep and Taylor flies the plane.

196. EXT SKY – EVENING

The plane glides through the clouds.

FADE:

MONTAGE - DREAM SEQUENCE

Another deadly dog fight takes place high in the sky. Young tries to maneuver his plane but he is shot down. He is falling inside his burning aircraft.

197. INT COCKPIT – CLOSE SHOT - MORNING

Young suddenly wakes up. He catches his breath. He is all sweaty, he looks around the cockpit, then over to Taylor.

CUT TO:

198. SFX SHOT – MED SIDE ON SHOT

Taylor is looking out of his side window, out side is a Messerschmitt. Taylor looks to Young

TAYLOR

(He looks worried)

Good timing Alex, we are in a spot of bother.

CUT TO:

199. Young looks confused and sacred.

YOUNG

They don’t come down this far why are they hear?

200. CLOSE SHOT

Taylor looks out of his side window and then ahead.

TAYLOR

I don’t know...(He looks out of the side window, he then looks back at Young)…pass me that headset.

CUT TO:

201. Young looks behind him and takes the headset off its hook, he hands it to Taylor.

CUT TO:

202. Taylor grabs the head set and puts it on.

TAYLOR

Take control of the aircraft.

CUT TO:

203. young nods and grabs the controls.

YOUNG

What are you going to do?

CUT TO:

204. Taylor picks up the radio on the plane.

TAYLOR

Don’t worry, just fly as calmly and causally as possible.

(He draws the radio to his mouth)

Wir sind eine Erleichterungsflugzeugüberschrift für Spanien, haben wir volle Erlaubnis.

CUT TO:

205. Young looks at Taylor in surprise.

CUT TO:

206. Taylor looks out of his side window. He repeats his dialogue.

CUT TO:

207. Young looks at Taylor.

CUT TO:

208. SFX SHOT – SIDE ON

Taylor is looking out of his side window, Messerschmitt stays with them.

CUT TO:

209. Young suddenly grips the wheel and throws it round.

210. CLOSE SHOT

The wheel is turned to the left.

211. SFX SHOT – SKY – MORNING

The Ford tri-motor banks and dives out of shot, the Messerschmitt, follows.

212. INT COCKPIT – CLOSE SHOT – DAY

Taylor looks at Young.

TAYLOR

Stop! What are you doing!

213. CLOSE SHOT

Young is focused on diving the plane.

214. SFX SHOT – EXT SKY – TRACKING – DAY

The Ford is diving dangerosly, the Messerschmitt 108 follows.

215 SFX SHOT – MED SHOT

The Messerschmitts guns open fire.

216. SFX SHOT - CLOSE SHOT

The bullets open holes in the planes back wings.

217. INT COCKPIT – CLOSE SHOT

Taylor looks in horror ahead of him.

CUT TO:

218. POV COCKPIT WINDSCREEN

The sea gets closer and closer towards the windscreen.

CUT TO:

219. Taylor looks at Young.

TAYLOR

Take us up now!

220. CLOSE SHOT

Young doesn’t listen and continues diving.

221. POV COCKPIT WINDSCREEN

The sea gets ever closer.

222. SFX SHOT – EXT SEA LEVEL – WIDE SHOT

The plane suddenly darts up before it hits the water, the Messerschmitt flies straight into the sea and explodes in a huge fireball.

223. SFX SHOT – EXT SKY – TRACKING – DAY

The Ford tri-motor flies back to its original height and levels off.

224. INT COCKPIT – DAY

The cockpit levels off, Young looks pleased and Taylor is very shocked but relived. Both men look at each other.

TAYLOR

Don’t ever do that again…

225. CLOSE SHOT

Young’s pleased expression begins to fade.

CUT TO:

226. CLOSE SHOT

Begins to smile.

TAYLOR

…without my permission.

CUT TO:

227. Young smiles and then looks ahead and continues to fly.

DISSOLVE

VOICE OVER

(Over the montage sequence)

Once you have refueled in Spain you are to fly directly over the boarder in to France, once there you will land at the designated rendezvous point and wait for the signal.

MONTAGE

A) The plane descends out of screen.

B) The plane flies over the camera and begins to land in a Spanish field.

C) Taylor’s pen draws a line over the Spanish and French boarder.

D) Tracking shot of the plane flying in the sky.

DISSOLVE

228. INT COCKPIT – FULL SHOT – DAY

Young is flying the plane again. Taylor is looking out of the windows.

CUT TO:

229. CLOSE SHOT

Young glances over at Taylor.

CUT TO:

230. CLOSE SHOT

Taylor is looking out of the windows.

CUT TO:

231. Young looks back ahead of him and thinks.

CUT TO:

232. Taylor stops looking out of the window and he begins to flick through some papers.

CUT TO:

233. Young again glances over nervously.

CUT TO:

234. Taylor finishes flicking through the papers and leans back.

CUT TO:

235. Young quickly looks ahead again.

CUT TO:

236. Taylor exhales and thinks, he looks at Young for a moment.

CUT TO:

237. EX CLOSE SHOT

Young eyes flicker to the side.

CUT TO:

238. Taylor looks down the side of the cockpit. He reaches down the side.

TAYLOR

Listen Alex, should anything happen you may need this.

239. EX CLOSE SHOT

Taylor pulls out a pistol.

240. FULL SHOT

Young looks at the gun, Taylor hands it over.

TAYLOR

We don’t know the extent of the Nazi occupation down there; you may need to make a quick getaway.

YOUNG

I understand.

241. EX CLOSE SHOT

Young places the gun in his pocket.

242. CLOSE SHOT

Taylor watches as Young puts the gun away. He then looks out of his side window.

TAYLOR

We should be nearing rendezvous point in about ten minutes or so.

CUT TO:

243. CLOSE SHOT

Young is consecrating as he flies but then a thought enters his mind.

YOUNG

So George, have you thought how we are going to do this landing.

CUT TO:

245. Taylor looks back at Young.

TAYLOR

From what I’ve been told it’s pretty flat terrain. Now, that’s going to make for an easier landing but it also means we’ll have no cover – so if we’re spotted, we’re going to have to make a quick getaway.

CUT TO:

246.

YOUNG

How do you know which field it is?

CUT TO:

247.

TAYLOR

Well, I’m looking at it now.

(He looks at Young)

I’ll take her in.

CUT TO:

248.

YOUNG

Ok, you have control.

TAYLOR

I have control.

CUT TO:

249. Taylor grips the controls.

TAYLOR

Guide me in would you.

YOUNG

Which field is it?

TAYLOR

The third one in - after that farm.

CUT TO:

250. Young looks out of the front window.

YOUNG

Christ that’s close! Reduce the speed.

(The sound of the engine slowing is heard)

You’ve got to get much lower or we’ll overshoot.

CUT TO:

251. Taylor nod and pushes the wheel down.

252. SFX SHOT – EXT SKY – DAY

The plane descends out of shot.

253. INT COCKPIT – CLOSE SHOT - DAY

Young is still looking out of his window.

YOUNG

Steady…steady, good - level the port wing…good…down…down, that’s it.

254. EXT FELIDS – TARCKING – DAY

The fields race by underneath them, getting closer and closer.

YOUNG

Watch your trajectory…that’s good…down…down, that’s it your on track…steady…steady…you’ve got it.

255. INT COCKPIT – MED SHOT – DAY

Taylor lurches up and then back into his seat, he is thrown up and down as the plane rolls along the field.

256. MED SHOT

Young is bounced around in his seat as the plane begins to slow down.

CUT TO:

257. SFX SHOT – EXT FIELD – TRACKING – DAY

As the nose of the aircraft bounces up and down the background goes hurtling by but then begins to slow down.

CUT TO:

258. Young watches out of the front window as some trees draw nearer.

YOUNG

Those trees are getting closer.

259. SFX SHOT – EXT FELID – DAY

The plane rolls right up to camera and stops just before it hits it.

260. INT COCKPIT – FULL SHOT – DAY

Both men lurch forward as the plane stops. The props can still be herd churning away outside as it slows.

TAYLOR

Not a bad landing even if I do say so myself. Now listen…

261. CLOSE SHOT

Young turns and looks at Taylor.

CUT TO:

262. CLOSE SHOT

Taylor is now looking very serious.

TAYLOR

…we are now in the lions den, make sure you keep your eyes open.

CUT TO:

263. Young nods.

CUT TO:

264.

TAYLOR

Keep the motors running incase we have to make this a very short trip, but don’t leave until our objective is safely onboard.

CUT TO:

265.

YOUNG

I understand.

CUT TO:

266.

TAYLOR

As soon as the cabin door closes, you point the nose of this plane back to England and fly - even if I’m not on board, you got it?

CUT TO:

267.

YOUNG

Yes sir.

CUT TO:

268.

TAYLOR

And don’t forget your gun. Right keep an eye out and warn me if you see anything.

CUT TO:

269.

YOUNG

Don’t worry I will, good luck.

270. FULL SHOT

Taylor unbuckles his seat belt and makes his way out of the cockpit.

TAYLOR

Remember - as soon as the door closes.

Young nods.

271. CLOSE SHOT

Young turns away from Taylor and his footstep can be herd walking down the fuselage. Young glances out of his side window.

272. SFX SHOT – CABIN – DAY

Taylor reaches into the back of the cabin and walks out of shot to the door.

273. SFX SHOT – INT COCKPIT – CLOSE SIDE WINDOW SHOT – DAY

Young keeps an eye out. Entire sequence is silent apart from the rumble of the engine.

274. SFX SHOT – EXT OUTSIDE SIDE WINDOW – DAY

Young looks out of the window.

275. INT COCKPIT – CLOSE SHOT – DAY

Young looks back and over to the other window.

276. SFX SHOT – EXT PLANE NOSE – DAY

Taylor glances through some binoculars at the landscape waiting for a signal.

277. SFX SHOT - EXT FELID – EX LONG SHOT – DAY

The plane is almost a small speck on the horizon.

278. EXT BUSHES – CLOSE SHOT – DAY

The resistance leader is looking at the plane in the distance, he is very shaken up but has a steely determination written on his face.

CUT TO:

279. SFX SHOT – EXT PLANE NOSE – DAY

Taylor keeps looking for a signal.

CUT TO:

280. The leader is about to leaves the bushes when suddenly the sound of dogs barking and German voices are herd, he looks around startled. He runs out of the shrubs.

CUT TO:

281. Taylor keeps searching when suddenly he sees something.

282 EXT FELID – POV BINOCULARS – EX LONG SHOT – DAY

The resistance leader runs full pelt towards the plane. Shots are herd.

283. EXT FORIST OPENING – DAY

A German soldier charges out of the bushes and lands on his knees, he begins opening fires on the resistance leader.

284. SFX SHOT – EXT PLANE NOSE - DAY

Taylor slowly pulls the binoculars down and with a frightened twinge in his voice he shouts up to Young;

YOUNG

Prepare for take off!

285. INT COCKPIT – MED SHOT – DAY

Young jumps and looks out of the side window, he nods and hurriedly prepares the plane for take off.

286. EXT FELID - DAY

The resistance leader runs towards the camera, he is slipping on the ground and losing his footing. Puffs of dirt explode around him as bullets bury themselves into the ground.

287. EXT FOREST OPEING – DAY

The soldier keeps firing at the escaped POW.

CUT TO:

288. EXT FIELD – LOW CANTED ANGLE – DAY

The resistance leader runs right over the camera and towards the plane while bullets punch holes in the ground around him.

289. SFX SHOT – EXT PLANE NOSE – DAY

Taylor watches in hope.

TAYLOR

(with a bit lip)

Come on.

290. INT COCKPIT – CLOSE SHOT – DAY

Young listen to what is going on out side, he reaches into his pocket.

CUT TO:

291. EX CLOSE SHOT

He pulls out the gun and looks at it.

CUT TO:

292. Young looks up and thinks. He looks out of Taylor’s side window.

293. EXT FIELD – MED SHOT – DAY

The resistance leader runs, back to camera, into frame when suddenly he is shot in the shoulder.

294. EX CLOSE SHOT

He grabs his arm as blood rushes out of the bullet hole.

295. MED SHOT

The resistance leader collapse.

296. SFX SHOT – EXT PLANE NOSE – DAY

Taylor watches in terror and then runs out of frame.

297. EXT FIELD – DAY

The leader roles around on the ground in agony, Taylor rushes into frame and drags him out of shot.

298. EXT FORSIT OPEING - DAY

The soldier watches and shoots faster.

299. INT COCKPIT – CLOSE SHOT – DAY

Young watches out of Taylor’s side window, he switches a few controls and the motors revs up.

300. SFX SHOT – EXT PLANE WING – FULL SHOT – DAY

The prop picks up speed.

301. INT CABIN – FULL SHOT – DAY

Taylor pulls the resistance leader into the plane.

302. INT COCKPIT – CLOSE SHOT – DAY

Young grips the control and listens out for the sound of the door shutting. It does and Young begins to turn the plane.

303. POV SHOT WINDSCREEN

The background slides right as the plane move round.

304. INT CABIN – FULL SHOT – DAY

Taylor sits the resistance leader down, he crouches down and tries to make him comfortable.

305. SFX SHOT – EXT FIELD – EX LONG SHOT – DAY

The plane rolls down the field and launches into the air.

306. EXT FORIST OPEING – DAY

The German aims his gun at the plane that flies over his head, he follows it with his gun and shoots.

307. SFX SHOT – CLOSE SHOT

A bullet opens a hole in the back wing of the aircraft.

307. INT COCKPIT - MED SHOT – DAY

Young pilots the plane higher and higher.

TAYLOR

(From inside the cabin)

Good show Alex, jolly good show old chap!

Young smiles.

DISSOLVE:

308. SFX SHOT – EXT SKY – TARCKING - DAY

The plane flies gently trough the air.

VOICE OVER

After your objective is safely aboard you must take to the sky and head back to England the same way you came.

DISSOLVE

309. INT COCKPIT – MED SHOT – EVENING

Young is flying the plane, he yawns and the sound of Taylor entering the cockpit it heard.

CUT TO:

310. CLOSE SHOT

Taylor relaxes into his seat, he looks at Young.

TAYLOR

Would you like me to take her?

CUT TO:

311.

YOUNG

It’s fine I have her, but you may want to take her from Spain to Ireland.

CUT TO:

312.

TAYLOR

Yes that’s fine, looks like there’s a big storm to the north east of us, if we are lucky we’ll just miss it.

CUT TO:

313. Young thinks for a moment about the passport, he keeps running through his head if he should ask or keep his mouth shut.

YOUNG

I hope so…listen George?

TAYLOR

Yes?

YOUNG

(carefully)

When we landed in Ireland, I found something, it has had me on tenterhooks the whole mission.

CUT TO:

314. Taylor looks at Young, keeping a completely neutral face.

TAYLOR

What is it Alex?

CUT TO:

315.

YOUNG

When you got off at the airstrip, you…you dropped something, it has made me very uneasy.

Suddenly the sound of an ME108 roars onto screen.

316. SFX SHOT – EXT SKY – EVENING

A ME108 whooshes past the plane with all its guns blazing.

317. SFX SHOT – INT CABIN – EVENING

The resistance leader looks around the cabin, his arm is in a sling.

318. SFX SHOT - EXT – SKY - EVENING

The ME108 shoots through frame and then turns completely around and faces the Ford tri-motor.

319. SFX SHOT – POV ME108 – EVENING

The camera is at the back of the ME108, it charges at the ford tri-motor and shoots at it.

320. SFX SHOT – EXT MOTOR – CLOSE SHOT – EVENING

Sparks fly out of the motor and fuel begins to leak.

321. SFX SHOT – INT COCKPIT WINDSCREEN POV – EVENING

The ME108 zooms over the plane and off into the distance.

322. INT COCKPIT – FULL SHOT – EVEING

The two men watch out the front window as the ME108 zooms away.

YOUNG

We’re loosing fuel from our starboard motor!

TAYLOR

Quick shut it off!

Young flicks switch. The sound of the motor turning off is herd.

323. CLOSE SHOT

Taylor looks out his side window and then looks at Young, he is terrified.

TAYLOR

Can’t you out dive to the sea again?

CUT TO:

324. CLOSE SHOT

Trying to control the plane.

YOUNG

No, the port aileron is damaged - if I did we probably couldn’t pull out again, what are we going to do?

CUT TO:

325. Taylor looks out of Young’s side window, he points.

TAYLOR

Look!...

326. FULL SHOT

Young turns and looks out of his side window in the direction that Taylor is pointing.

TAYLOR

…if we head into that storm, the Messerschmitt will never follow.

YOUNG

It’s suicide!

TAYLOR

We have better chance with the storm than with the Messerschmitt.

327. CLOSE SHOT

Young looks at Taylor.

YOUNG

Why don’t you just call off your flying mate and well land safely.

CUT TO:

328. CLOSE SHOT

Taylor is confused.

TAYLOR

What are you talking about?

CUT TO:

329.

YOUNG

Take this.

(He takes his hands off the wheel and raises them past his head)

330. SFX SHOT – EXT SKY – EVENING

The planes nose drops violently and the plane falls.

331. SFX SHOT – INT CABIN – EVEING

The resistance leader is thrown back into his chair, he holds on as the plane plummets.

332. INT COCKPIT – CLOSE SHOT – EVEING

Taylor is wrestling with the controls.

333. CLOSE SHOT

The wheel is forced side to side with Taylor trying to gain control.

334. SFX SHOT – INT CABIN – EVEING

The resistance leader looks round the fuselage in shock.

335. SFX SHOT – INT CABIN – REVERSE – EVEING

The whole cabin is shaking, in the windows we see the sky rising up around the plane - the resistance leader is being shaken about.

336. INT COCKPIT – CLOSE SHOT – EVEING

Taylor pulls the wheel back as he is push back into his chair.

337. SFX SHOT – EXT SKY – EVENING

The plane levels out.

338. INT COCKPIT – CLOSE SHOT – EVEING

Taylor relaxes into his chair as he gains control. He exhales and rubs his forehead. He looks at Young

TAYLOR

Why the hell did you do that?!

CUT TO:

339. CLOSE SHOT

Young takes the gun out of his pocket and points it at Taylor.

YOUNG

…Because it would have meant two less Nazis in the world.

340. FULL SHOT

TAYLOR

What are you talking about?!

YOUNG

I found your German passport, I know your plan now.

TAYLOR

What plan?

YOUNG

To have your flying pal out there fire blanks at us to force us down to France. Then they would have me and your so-called freedom fighter back there.

341.SFX SHOT – INT CABIN – EVEING

The resistance leader lifts his head up to hear what is going on.

342. CLOSE SHOT

Taylor is very confused and shocked. He is still trying to battle with the plane.

TAYLOR

That’s a preposterous conclusion, if it were staged, why would he have been shot in the arm?

CUT TO:

343. CLOSE SHOT

Young listens to Taylor’s words and thinks.

TAYLOR

…you saw me take the bullet out.

YOUNG

It…it could have been an accidental shot.

CUT TO:

344.

TAYLOR

Why would I have given you that gun, if I knew you could do this.

CUT TO:

345.

YOUNG

You…you could have done it to…to gain my trust..

CUT TO:

346.

TAYLOR

T passport - it’s a fake! I have many more at home IN ENGLAND, a French one, a polish one, a Russian one even a Swiss one.

CUT TO:

347.

YOUNG

Prove it.

TAYLOR

Well I would hardly bring them would I?

YOUNG

You brought the German one.

CUT TO:

348.

TAYLOR

In case we were captured! It might have been our only option. Listen, that Messerschmitt will be back any second, and possibly with more aircraft, so either you try and test your theory and let us be shot out of the sky or we try for that storm.

CUT TO:

349.

YOUNG

(He thinks for a moment and the puts the gun down.)

Very well, but if I suspect anything this gun comes right back out again, and your flying us through the storm.

CUT TO:

350.

TAYLOR

Not scared that I might take us down to France?

CUT TO:

351.

YOUNG

Even if you push the wheel forward just a little, the gun come straight back out.

352. EXT SFX SHOT – EXT SKY – EVENING

The plane banks from its current position and heads towards the storm.

353. FULL SHOT

The plane head straight for the camera.

354. INT COCKPIT – FULL SHOT – EVENING

The two men look ahead as they draw near to the storm.

355. POV

Through the wind screen the storm gets much closer.

356. SFX SHOT – INT BACK CABIN – EVENING

The sky outside the cabin windows gets darker and darker.

357. SFX SHOT – INT CABIN – REVERSE – EVENING

The leader of the resistance looks out the windows as they descend into darkness.

358. EXT SFX SHOT – EXT SKY – EVENING

The plane enters the storm.

359. INT COCKPIT – FULL SHOT – EVENING

The cockpit begins to shake as the plane battles its way through the storm.

360. SFX SHOT – INT BACK CABIN – EVENING

The cabin begins to shake, outside the clouds are dark black and heavy rain is buffeting the plane.

361. SFX SHOT – EXT SKY – TRACKING – EVENING

The plane is being battered by the wind and rain - suddenly a crash of lightning and a roaring thunder erupts on screen.

362. SFX SHOT – INT COCKPIT SIDE ON – MED SHOT – EVENING

The storm clouds go flying past Taylor’s side window, he is concreting on keeping the plane steady.

TAYLOR

Listen Alex, I’ve got to locate our position so we can navigate our way back to England, we won’t have enough fuel to last us to Ireland.

363. SFX SHOT – INT COCKPIT SIDE ON – MED SHOT – EVENING

Young looks at Taylor, he thinks for a moment, he reaches for the wheel.

364. INT COCKPIT – FULL SHOT – EVENING

Young grips the wheel, Taylor looks at him.

YOUNG

I have control, but if I think your tacking us the wrong way…

TAYLOR

(Interrupting)

Trust me.

YOUNG

I’m finding it hard too.

365. CLOSE SHOT

Taylor looks away from Young and thinks.

TAYLOR

You asked me, back in Ireland, you asked about my family. Well I’m doing all this for them. You asked me where they were…well last I herd, they had been sent to a concentration camp.

366. CLOSE SHOT

Young is completely dead pan but in his eyes we can see his emotion, he sniffs in a breath and adjusts his position in his chair. He carry’s on flying.

LONG DISSOLVE:

367. SFX SHOT – EXT SKY – TRACKING – EVENING

The plane boldly marches through the storm. The rain is heavy and the thunder is deafening.

DISSOLVE:

368. INT COCKPIT – CLOSE SHOT – EVENING

Transparency fades into a map that Taylor is marking on, we see the original flight path dotted on but Taylor is now drawing a new flight path. It is curving round to Cornwall.

369. INT COCKPIT – CLOSE SHOT – EVENING

Taylor lifts the pencil from his map. He looks at it and nods.

TAYLOR

I’ve calculated our position from where we were to now. I think with our fuel we might just have a chance of reaching the Cornish coast...

CUT TO:

370 CLOSE SHOT

Young listens but is to busy flying the plane to reply.

TAYLOR

…but it may be hit or miss, I can’t be certain of our position…

CUT TO:

371.

TAYLOR

…also there are no airfields near where we will be landing so it looks like we’re going to have to find another field.

CUT TO:

372.

YOUNG

(sarcastically)

Swell.

DISSOLVE:

372. SFX SHOT – EXT SKY – TRACKING – NIGHT

The plane is still battling on through the storm.

DISSOLVE:

373. INT COCKPIT – MED SHOT – NIGHT

Young is still gallantly flying the plane. The camera pans across to see that Taylor’s seat is empty. The camera pulls back and then tracks into the curtain until the screen goes black.

374. SFX SHOT – INT CABIN – NIGHT

The camera zooms in a little to complete the illusion that it has gone through the curtain. Taylor is crouched down next to the resistance leader.

TAYLOR

…so we will be heading there, now we are about fifteen minutes away from the coast so get ready as we may have to glide in as our fuel will be gone very soon.

RESISTANCE LEADER

I understand.

TAYLOR

So just be ready for the impact. We may be in for a heavy landing.

RESISTANCE LEADER

Don’t worry I’ll be fine.

He extends his hand to Taylor, Taylor looks at his hand and then shakes and gives a brief smile.

TAYLOR

Remember, when I shout - brace for impact.

RESISTANCE LEADER

Will do good luck.

Taylor stands and walks out of shot.

375. INT COCKPIT – MED SHOT – NIGHT

Young is still flying the plane, the sound of Taylor entering is herd.

376. SFX SHOT – INT COCKPIT – SIDE ON – NIGHT

Taylor enters the cockpit and sits down. He looks at his maps and then out the front window.

TAYLOR

We should be able to see the coast any minute now.

377. CLOSE SHOT

YOUNG

Good because I don’t want to alarm you but we have only five minutes of fuel left. We are going to have to glide the rest of the way in.

378. CLOSE SHOT

TAYLOR

Thank heaven the storm is lifting then.

379. SFX SHOT – EXT SKY – TRACKING – NIGHT

Slowly the plane emerges from the storm.

380. SFX SHOT – INT COCKPIT – WINDSCREEN POV – NIGHT

The clouds slowly disperse to revel a coastal landscape.

381. CLOSE SHOT

Taylor looks out his window.

TAYLOR

There it is!

The sound of the motors spluttering and the stopping is herd.

TAYLOR

There goes the fuel. Brace for impact!

382. SFX SHOT – INT CABIN – NIGHT

The resistance leader listens and nods, he does his seatbelt up and looks out of his side window.

383. SFX SHOT – EXT SKY – TRACKING – NIGHT

The plane with all its props at a standstill, beings to glide out of shot.

384. SFX SHOT – INT COCKPIT – WINDSCREEN POV – NIGHT

The landscape gets closer and closer.

385. INT COCKPIT – CLOSE SHOT - NIGHT

Young takes firm control of the plane.

YOUNG

Hold tight, this is going to be a tough one!

384. SFX SHOT – INT COCKPIT – WINDSCREEN POV – NIGHT

The cliffs whoosh underneath the plane.

385. EXT ROLLING FIELDS - HIGH ANGLE SHOT – NIGHT

The fields roll by underneath them.

386. SFX SHOT – EXT HILLS – NIGHT

The plane roughly glides into shot and hit its front wheel on a mound, the aircraft goes flying up and then comes back down again with a bang.

387. INT COCKPIT – FULL SHOT – NIGHT

The impact of the plane hitting the ground, jolts the men in their seats.

388. SFX SHOT – EXT FELIDS – TRACKING - NIGHT

The planes landing gear disappears as they rolls through fields knocking down a stone wall.

389. SFX SHOT – INT BACK CABIN – NIGHT

The cabin is thrown up and down as the plane keeps rolling down the landscape.

390. SFX SHOT – EXT FIELDS – NIGHT

The plane then gentle stops moving.

400.

All three men are left panting in the plane. They sit in silence for a moment before it begins to dawn that they are still alive.

TAYLOR

HA!

Taylor slaps Young on the back and lets out a series of triumphant yelps. Young just sits there with his head in his hands and a disbelieving smile on his face.

Taylor jumps into the back cabin and checks on the resistance leader. He is smiling too.

TAYLOR

Not bad, Young. Not bad at all! I knew you were the man for me – I don’t know how many other pilots could have pulled that off! Right – we’d better get to the nearest town and contact HQ.

Taylor turns to the resistance leader.

TAYLOR

They’ll be wanting to talk to you.

Taylor helps the resistance leader out of the plane. He lies him down on the grass outside.

TAYLOR

Just you rest there for a moment. We’ll get you to a hospital in no time – you’ll see.

Taylor jumps back into the co-pilots seat of the aircraft and looks over at Young.

TAYLOR

Well then. A job well done I should think.

Young nods.

YOUNG

I’m sorry for assuming…about…well…

TAYLOR

It’s fine. Must have had you going there for a while! A German solider flying you into Nazi occupied France! What you must have been thinking…

Taylor laughs to himself.

YOUNG

Still…I’m sorry about your family.

Taylor’s smile fades.

TAYLOR

Me too.

Both men sit in silence for a moment.

TAYLOR

I took the job because the resistance leader has information that could help us find a weakness in the German defenses. That, in turn, could help end the war, and ultimately help me get my family back.

Young nods solemnly.

TAYLOR

You know…the resistance is gathering more information all the time. Information we could use. What do you think? Care to do it all over again?

Young thinks for a moment.

YOUNG

I think I would. On one condition.

Taylor raises an eyebrow.

TAYLOR

Oh?

YOUNG

I think I deserve that leave.

Young smiles at Taylor, before Taylor throws his head back and laughs. Close up shot of their hands as they shake on it. The camera tracks away from the aircraft in the field. This leaves the audience in the knowledge of their established partnership and ongoing contribution to ultimately win the war.

THE END.