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Dish The

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Subtitulos y Modificaciones por Hosen|hosen@fibertel.com.ar
Excuse me, sir.|Yes?
I'm afraid you've come in|the wrong way.
I'm sorry...|This is the old entrance.
The visitor's centre's out|and around to the left.
Right, well...|I'll wander over then.
Well worth it.|Been through some amazing times.
(Murmurs) Yeah.
I believe that this nation|should commit itself
to achieving the goal,|before this decade is out,
of landing a man on the moon
and returning him safely|to the Earth.
SONG: # Come and see|the real thing
# Come and see the real thing|Come and see
# Come and see the real thing|Come and see the real thing
# Come and see
# There's a meaning there
# But the meaning there|doesn't really mean a thing
# Come and see|the real thing... #
MAN: Godspeed, John Glenn.
# Come and see
# I am the real... #
KENNEDY: We choose to|go to the moon.
We choose to go to the moon|in this decade
and do the other things,
not because they are easy,|but because they are hard.
# Trying hard to understand|but really not just seeing me
# Trying hard to understand|but really not just seeing me
# There's a meaning there
# But the meaning there|doesn't really mean a thing... #
MAN: lgnition sequence starts.
# Come and see the real thing|Come and see
# I am the real thing... #|MAN: Tower, clear.
RADIO: 'Apollo 9', you are go...
RADIO: 'Apollo 1 0',|your trajectory and guidance are go.
MAN: Man is about to launch himself|on a trip to the moon.
MAN: Neil Armstrong.|Edwin 'Buzz' Aldrin.
Michael Collins.
Next stop for them - the moon.
The lunar age is about to begin.
# I am not seeing you
# Ah-ah-ah-ah-ah. #
When the guy|counts down to zero,
the three astronauts will take off|in 'Apollo 1 1 ' from America.
And the rocket will fly up to|the moon like this and, er...
Landing module.
Landing module comes off|and lands on the moon.
The astronauts will come out|in their spacesuits,
and get shot by martians!|(All scream)
Damien...|And their heads will explode!
They'll fly back to Earth|and kill everyone.
That's not going to happen.|It might.
Who's next? Graeme?
Um, just a minute, Graeme.|Melanie?
I haven't done the moon landing.
(Mutters) Thank God.
I've made a model of|the telescope and receiving dish
in the town of Parkes.
When astronaut Neil Armstrong|lands on the moon,
people all over the world|will be watching television pictures
provided by the radio telescope|in Parkes.
WOMAN: Mr Callem,|the Prime Minister wants to see you.
Can it wait?|I don't think so.
What's it about?
He's just got off the phone|to the White House.
Do you know|who was on the phone then?
No, sir.|The US President.
Nixon...|Sorry, sir...
..thanking me for allowing NASA|to use our facility.
Yes, sir.|And something about an upgrade?
Right.|What's he talking about?
There's a briefing docu...|I don't read those!
( BELL RINGS )
Are we raising this?|I think we should.
So what's this all about?
The President was referring to|our radio telescope.
Some months ago, NASA requested -|and you approved -
its use in the Apollo program,|originally as a backup receiver.
Originally?|They upgraded its role.
When 'Apollo 1 1 '|gets to the moon,
Parkes will now be|the prime receiving station.
Meaning?|We've got the moon walk.
Shit. The people at this place -|do they know what they're doing?
I believe so.|I bloody well hope so.
Why'd they pick us?
It's the largest radio telescope|in the Southern Hemisphere.
What's it doing in the middle|of a sheep paddock?
MAN: The Parkes radio telescope,|or, as we call it, the dish,
will track 'Apollo 1 1 '|throughout its journey
gathering voice signals|from the astronauts,
telemetry from the spaceship
and then, most importantly,|the TV signals from the moon itself.
It's 21 0 feet in diameter,|it weighs 1 ,000 tons
and it can be moved to point|in virtually every direction.
It's the most powerful|receiving dish in the world.
..in the world.
Can I have their full names|and specific roles?
This is Ross Mitchell.
He's responsible|for manoeuvring the dish.
This is Mr Glenn Latham.
Glenn's in charge of|all the electronics.
Glenn's a Sagittarius. He enjoys|knitting, flower-arranging...
Mitch, I do not!|Don't write that.
From NASA, AI Burnett.
AI makes sure the signals|get back safely to Mission Control.
Enjoying your stay in Australia?|Very much, sir.
The people are warm...|And friendly. That's great.
And you, Cliff.|What's your official title?
Cliff Buxton, director.
Or the 'dishmaster'.
OK. Now I just need|a few personal details.
You married?|Yeah.
Glenn?|Fiancee, Janine Kellerman.
Mitch! She's not my fiancee.|Local girl.
I don't have a fiancee.
Married.|Two boys, in Houston.
And you, Cliff?
Married.
And just finally,|I mean, no offence,
but when you think about it,
the Americans spent 1 0 years,|billions of dollars,
to let us watch man|walk on the moon,
and in the end it falls|to you blokes. (Laughs)
I mean,|how do you feel about that?
A lot better|before you opened your trap.
We feel confident we have|the expertise to complete our role.
But, Cliff. I mean,|it's pretty amazing, isn't it?
Yes, it is amazing.
And so Australia finds itself|a vital cog
in this grand endeavour.
ALL: Hear, hear.
Only this morning,|I conveyed to President Nixon
my long-term interest|and commitment to this project.
It will be|one of the proudest moments
in Australia's|scientific history.
ALL: Hear, hear.
And I thought it fitting
to accept the invitation|of the mayor of Parkes
to be there on Monday|and witness first-hand
our vital contribution.
ALL: Hear, hear.
Now THAT is an RSVP.
The Prime Minister|coming to Parkes.
I'll frame that.|The icing on the cake.
You know why this means so much?|Helps your political career.
No, Len.|It does.
The PM standing with|the candidate.
It's all about brownnosing.|Licking arse!
No! It's a vindication.
Oh!
Oh, vindication.
Vindication of my campaign
to get that dish here|in the first place.
That was an episode!
You know what people said|when I proposed Parkes?
That you were grandstanding.
It's a self-serving stunt|to big-note yourself.
Who said that?
Oh...
They said I was a dreamer.|A visionary.
Yeah, that's right.
"Bob Mclntyre," they said,|"you'll never pull it off."
And now, which town is part of|the 'Apollo 1 1 ' mission?
RADIO: Honeysuckle network,|Net 2.
HONEYSUCKLE: Honeysuckle.
NET 2: Roger, would you confirm|that Parkes is all up...
NEWSREADER: As 'Apollo 1 1 '|is being readied for launch,
NASA is completing final checks|on its deep space network.
The vast array of radio telescopes|and cable links
all over the world,|including a number in Australia,
that will allow communications|with 'Apollo 1 1 '
on its historic journey.
AL: ..and it deposits signals|straight to Sydney.
Strip the TV,|send that to Moree...
Both receivers.
Sorry, go on.
The rest will be sent|to the demodulator
at Honeysuckle Creek first.
The biomed telemetry feeds -
can we send those|on separate lines?
Mitch?|Yeah, no problem.
AL: OK. Biomed, TM split feeds.
It's a big book|you've got there, Al.
Hold on.|What is it?
These coordinates don't match.|They've been changed.
Are you sure?|This is unacceptable.
Glenn, come here.
What?
Every coordinate in this book|has been changed.
Yeah?
I changed them.
You what?|I changed them.
Why?|Because they were wrong.
Why were they wrong?|I don't know.
No, what about them was wrong?
The figures NASA sent us|were for the Northern Hemisphere.
And we're in|the Southern Hemisphere.
I can change them back,|but you'd point in the wrong...
It might be a good idea|to tell us.
Oh, sure.|I just didn't want to worry you.
Cup of tea, Al?
No, thank you.
MITCH: I'll have one.|Thank you, Glenn.
This is why we have to check|and double-check.
All of NASA's work.
Everyone's work, unless you have|a problem with that.
I don't have a problem|with that.
I got a problem...|OK, Mitch. Let's get on with it.
I'll go and start the dish.
MAN: Hi, Bob!
Phil.
Keith.
Major Mclntyre.
I'm a long time out of uniform.
You fought, sir. In a war, sir.|You'll get your chance.
I hope so, sir.
Kid's a cadet.|He's keen.
Hello, Bob.|How's it going, Pearl?
Bob, busy as a bee.|The whole town's abuzz.
They'll have something else|to talk about soon.
I can't say too much,
but we might be|getting a visitor.
The Prime Minister. May phoned.
And the American ambassador.|That woman...
Can you keep it under your hat?|I don't think so.
Don't worry.|How are the boys at the dish?
They're raring to go.|The American chap settling in?
I think so. Quiet fella.
Came in here yesterday...|wanting pretzels!
Pretzels?
Yep. It's a world event.
The Prime Minister.
Better get a jig-along.|See you later.
MAN ON RADIO: Last report,|all systems were go at the cape
and the countdown|proceeding to schedule.
MAN 2: Let's go back|to Cape Kennedy
and correspondent Fred Turner.
( RADIO BABBLE CONTINUES )
(Yells) The launch is definitely|going ahead tonight.
And the ball is definitely|going ahead Friday night.
So can we get back to fixing...|Oh, yeah. Got another surge.
(Plays 'Cuando, Cuando, Cuando')
(Band stops)|Oh! I could rumba right now.
I hope we've got|some slow numbers.
Yes, Mrs Spears.
Um, we've got a new song too.
Who's it by?|J-James Hendrix.
Let's hear a couple of bars.
(Band plays 'Foxy Lady')
There's a slower version.
That is not to go above three.|Yes, Mrs Spears.
You're right|with the American anthem?
The what?
Are you telling me
you haven't prepared|the American national anthem?
How does it go?
You've got 48 hours.
MITCH: I knew it|the day he arrived!
NASA sent him - fine,|they're renting the dish.
But how about some respect?|Two-way street.
Honestly,|I wouldn't worry about it.
We're a professional unit...|GLENN: Mitch.
You right?
Sorry, mate.
Still not flat enough, Glenn.
I'll give it a tweak.
Drop it down a couple of clicks.|Probably on NASA settings.
MITCH: We're senior members|of the department of radio physics.
We're not mugs at this game.|Know what he asked me?
Do we have a dress standard?|I mean, can you believe that?
That is hard to believe.
Wish he'd gone home|with the rest.
What's his problem?
Well, perhaps he's just|feeling the pressure.
(Scoffs) Feeling the pressure.|He's got to learn to relax.
I'll tell you a little secret, Mitch.
He's not the only one.
(Hatch opens)
We just got word from Houston.|It's go for launch.
( 'SPANISH FLEA' BY HERB ALPERT|AND THE TIJUANA BRASS PLAYS )
BOB: Ha-ha! Kelsos!|Now the party can start. Come in.
Melna!|All the way from Grenfell.
Wouldn't miss it!
How's Clem? Chesty.
Happy to have you home|from university.
It's for the weekend.|I go back Monday.
Phone's been ringing all day.
You'll miss the moon landing.|Good.
This whole mission's typical|of America's imperialistic greed.
CSIRO, reporters, Reg Baxter.
They're just walking on it.|And then what?
Come home, I suppose.|That's enough, Marie.
Mr Purvis doesn't want to hear|all that nonsense.
Pick up the phone|and I yell, "Yeah, what?"
And do you know who it was?|The science minister.
Who's for another|devil-on-horseback?
They've all got families.|I know. It's extraordinary.
I wouldn't let Don go.|I know exactly what you mean.
How do you reckon they go to...|(Whistles) ..up there?
I suppose they just hold on.|For four days.
Looking forward to the dance.|It's a ball.
They're not eating big meals,|just pills and stuff.
You can't hold on|for four days, Len.
They should try these -|block them up for a week.
TELEVISION: And all is still go|as we monitor our status...
How's it looking, Billy?|It's full of liquid hydrogen.
Can they fix that?
No, it means it's go for launch.|Oh, hydrogen!
And the Prime Minister?|He'll be here on Monday.
For the lunch!|Luncheon, Melna.
Men on the moon, eh?|Yep, and we're part of it, Dad.
Part of it - we're slap-bang|in the middle of it.
MAY: And there could be|a small announcement.
Really?|It's not official yet.
But Bob's got the nomination|for Parkes.
(Squeals)|But we're not telling anybody!
What's that?
Bob's got the nomination|for Parkes.
Bob, congratulations|on the nomination.
Bob, the nomination. Well done.
May...
BILLY: Dad, they're talking|about Parkes!
Crikey!
TELEVISION: Well, the signals from|the radio telescope antenna at Parkes
will come in here
over the postmaster general's|video system.
We're building a new antenna|in Australia...
LEN: Who's that?|BOB: Wilson Hunter.
Bigwig from NASA. Good fella.
Dad looked after him.
He's NASA's|senior scientific representative.
That's what it's all about.
Sucking up to the bigwigs.
No, that's not it.
TELEVISION: All indications|coming in to the control centre
TELEVISION: All indications|coming in to the control centre
indicate we are go.
Our status board indicates
the third stage|completely pressurised.
T-minus 60 seconds and counting.
We've passed T-minus 60.
55 seconds and counting.
All still go at this time.
Neil Armstrong reported back|when he received good wishes,
"Thank you very much.|We know it will be a good flight."
Good luck and Godspeed.
40 seconds away from|the 'Apollo 1 1 ' lift-off.
All the second-stage tanks|now pressurised.
35 seconds and counting.|We are still go with 'Apollo 1 1 '.
30 seconds and counting.
Astronauts report,|"It feels good."
T-minus 25 seconds.
20 seconds and counting.
Guidance is internal.
TELEVISION: 1 5 seconds.|Guidance is internal.
Guidance is internal.
TELEVISION: 1 2, 1 1 , 1 0...
Ignition sequence starts.
TELEVISION:|lgnition sequence starts.
Six, five, four,
three, two, one, zero.
All engines running.
Lift-off. We have a lift-off.
32 minutes past the hour.|Lift-off on 'Apollo 1 1 '.
( ROCKET RUMBLES )
TELEVISION: Tower cleared.
ARMSTRONG: We've got to|roll program.
TELEVISION:|Neil Armstrong reporting
the roll and pitch program
which puts 'Apollo 1 1 '|on proper heading.
ARMSTRONG: Roll is complete|and the pitch is programming.
TELEVISION: Plus 30 seconds.
Down range - 1 mile.|Altitude - 3, 4 miles an hour.
Godspeed.
Amen.
TELEVISION: Velocity -|2,1 95 feet per second...
TELEVISION: 'Apollo 1 1 ' is now|out over the lndian Ocean
approaching the western shore|of Australia.
And as you perhaps know,
the crew will make|1 .5 revolutions of the Earth...
RADIO: ..from the ABC,|read by Tom Kelly.
The 'Apollo 1 1 ' has had|a perfect launching
on its journey to the moon.
The Saturn rocket rose|on a blur of orange-red flame
from Cape Kennedy,
right on time at 1 1 :32 tonight,|Eastern Australian Time.
The spaceship|and the rocket's final stage
are now orbiting the Earth,|before setting out in 4 hours...
KEITH: Ten-hut!
Morning, Marie.
SONG: # Good morning, starshine
# You lead us along
# You lead us along
# My love and me as we sing... #
( GEARS CRUNCH )
# Baby, la-be-loo-be la-la
# La-la-la lo-lo... #
(Sighs)
# Do-be-do-be wah-la
# Do-be-aba-naba
# Early morning|singing this song. #
Visitor entering compound.|Await identification.
You're being stupid, Rudi.
Visitor offering resistance.
You've got a gun!|Yeah.
Official NASA requirement -|armed security.
Does Mum know?
No, and don't tell her, Janine.|She'll come and take it off me.
This is getting cold.|I've got to sign you in. Janine!
Entry authorised.
A bickie too.|JANINE: Hello, everyone.
Morning, Mr Buxton.
Well, if it isn't|the most beautiful girl in Parkes.
Good morning, Mr Burnett.|Thank you, Janine.
Good morning, Mitch.|Janine.
Good morning, Glenn.|Hi, Janine.
I put extra cheese on yours.|Thanks, Janine.
You tiger.|Mitch.
How's Mum?|She's good, Mr Buxton.
Getting ready for the ball.|The whole town is over the moon.
(Janine and Cliff laugh)
JANINE: It is so exciting.|The ambassador arrives tomorrow.
Oh! Over the moon.
(Giggles) The Prime Minister's|here on Monday.
On the news they showed Parkes.|They show the dish?
Mm-hm. Everyone's so proud.
RADIO: PKS,|Houston Flight Control.
Awaiting downlink frequencies.
PKS. Roger that, Houston.
Was that Neil Armstrong?
No, we're not online|at the moment, Janine.
Sorry?
There's two|major tracking stations.
There's us and Goldstone.
Goldstone?|California.
When the moon's on our side|of the world, Parkes is online.
When it's on the other,|then it's Goldstone.
Right, but...
Why don't you explain it, Glenn?|Go on.
Um...OK.
Imagine the Earth|is a basketball.
This'll be good.
On top of the basketball is...
What's that thing|you put the pump into?
The hole.|Yeah, but it's got a name.
Oh, the valve.
The valve is Goldstone,|on the other side is another valve...
Basketballs only have one valve.
What's something|with two valves?
A tuba.|No, round.
Tambourine.|Doesn't have valves.
Coconut...|Mitch.
Let's just say it's a basketball|with two valves.
When the Goldstone valve|can't see 'Apollo 1 1 ',
the Parkes valve can.
That's it.|Good work, Glenn.
But how do you know|where 'Apollo 1 1 ' is?
Computer.|Wow.
20 seconds it does|what took me five hours with a slide rule.
And a basketball.
Does the computer move the dish?
Mitch does that....
Janine, we'll have to|return to work.
Thank you for the refreshments.
Oh, it was my pleasure.
Thanks very much, Janine.|See you, love.
She's a lovely girl.
Yeah. Not much of a driver but.
You should ask her out|when all this is over.
Oh, boy. Ask Janine out -|I don't know, Cliff.
You should see her|come to the cricket club
and everyone wants to talk to her.
And Garry Kenny - wouldn't be|surprised if they're going out.
Do you reckon?
Yeah, I reckon.
What if she said no?
Well, sometimes|you've just got to take a risk.
( NEWS THEME MUSIC )
Armstrong, Aldrin and Collins|started their epic mission
a little more than 1 9 hours ago.
Where are they now, Kevin?
At the moment, the astronauts|are 93,250 miles from Earth
and the moon is|1 46,750 miles ahead.
If we look at it on this scale,
which we should stress|is not drawn to scale...
Pity they don't mention|who got the dish here.
Come on, love.
You've never got due credit,|Robert Mclntyre.
I've done alright, Maysie.
Please don't call me Maysie|in front of the ambassador.
What do I care if some bigwig Yank|sees I love my wife?
Now, Bob, the blue or the lemon?
The yellow.|Lemon.
Come on, Maysie. Give us a kiss!
What did I just say?!|No idea!
If you get into Parliament,|will you abolish the national draft?
Anything for you, sweetheart.
Dad, it's a political issue.
Oh. Leave it with me.
Cliff, about before.
I don't want you and Mitch to think|I'm holding on too tight.
Well, you've got a lot|on your plate, Al.
It's just that now that the teams|have gone back,
I'm responsible.
Am I holding on too tight?
Well, there's a lot at stake, Al.
There's no guarantees.|A lot of variables.
We'll be right.
( 'CLASSICAL GAS' PLAYS )
MITCH: Zenith - 59, 56,|57, 58, 59, 60.
6001 .|CLIFF: Hold it there.
( SHEEP BLEAT )
Glenn?
Nothing.
HGA?
Prelimit.
CLIFF: Run APP prime.
Antenna porting processor|running.
We've got a signal.|Glenn?
It's weak.
Pick it up, Mitch.
Azimuth - 8522, 24, 26, 28...|AL: It's up.
GLENN: 90DBM. Solid.
( BEEP )|RADIO: 'Apollo 1 1 ', Houston...
CLIFF: OK, switching to M.E.
Equatorial control locked on.|Reading?
2.5.
Set...
..and holding.
Acquisition of signal.|We are go for command.
PKS, Houston NC.
RADIO: Houston Network Control.|Go ahead, Parkes.
Standing by for handover.
HOUSTON: Copy that, Parkes.
All stations Net 2,|we are switching to PKS.
ASTRONAUT: Roger, understand...
Who's for a cup of tea?
HOUSTON: '1 1 ',|it was a good readback,
and we'd like|a crew status report, over.
ASTRONAUT: Houston, 'Apollo 1 1 ',|the battery charging is complete
and the crew status report|is as follows.
CDR, VMV, LMD,|negative medication.
Fit as a fiddle, over.
HOUSTON: Roger, copy, '1 1 '.|Thank you so much.
We'd like you to verify|a reading...
(English accent) Houston,|the moon city of the US.
Dr Charles Berry|is the astronauts' doctor.
(Speaks ltalian)
We've had concerns about whether|they're able to rest adequately.
We're pretty sure|we know how to do it.
(Speaks Japanese)
..is following|the 'Apollo 1 1 ' mission
with intense personal interest.
RADIO: PKS, Houston. Contact.
RADIO: PKS, Houston. Contact.
MITCH: Go ahead, Houston.
HOUSTON: Can we have|a CSM switch reading, please?
1 -3-0.
Roger, signal strength|is negative 1 -3-0.
Solid lock on prime.
HOUSTON: Standby for UDB.
Uplink data buffer standing by.
What was that?
Just a CSM switch.|Nothing to worry about.
Won't be long.|Take your time.
Can you run a verification|of the projected plot points
for the next handover?
I've done it.|Now with the adjusted bearings.
Oh, well, I stand corrected.
No, you're wrong.
Got a problem?
Yeah.|CLIFF: Mitch...
No.
You treat us like|a pack of galahs.
That's a kind of parrot.
Just because I don't wear a tie
or spend all day|buried in a manual
doesn't mean I'm a drongo.
That's a hopeless...|Yeah, I get the idea, Glenn.
I've got nothing but complete respect|for your capabilities.
I'd appreciate the same|in return.
Al, it's probably time|to get along now.
Let me know if...|Don't worry.
RUDl: 'Bye, Mr Burnett.
Guys, I've been calling you...
Oh, right.|It's been switched off again.
Testing, 1 , 2, testing...|( FEEDBACK )
Right.
MITCH:|What were you calling about?
What's that?
You've been calling -|what were you calling about?
Oh, it was just the, um...
..the...|Routine call?
Yep, that's right, Mr Buxton.|It was the routine call.
Anyway, I'd better get back|to my post.
Can we set up over here?
That's it - there's|a camera crew downstairs.
Entry's been authorised.
Ambassador's taking his time.
Must still be at the motel.
You organise that fruit platter?
Yep, nice big one.
Major Mclntyre.|Keith.
Is Marie here, sir?
No, apparently the ambassador|is a "cultural imperialist".
Sorry, sir?|She's gone in.
Be careful, son.|Yes, sir.
That boy's about to|get a taste of war.
In a few days time,
we'll be watching|television pictures from the moon.
Could you explain how these pictures|will be received?
Got a basketball?
When Armstrong emerges|from the lunar landing module,
he'll activate|a small camera here,
which will capture pictures|of him descending the ladder
and walking|on the surface of the moon.
REPORTER: These pictures -|how will they make it back to Earth?
Carrier pigeon.
There's a small S-band|transmitter on top
which sends the images|back down to us.
It's certainly|amazing technology...
(Glenn laughs) Carrier pigeon.
REPORTER:|We'll have to go again.
LEN: Ambassador of|the United States.
Can't get the lump|out of my throat.
Should stop eating|those party pies.
You're right, Len.|It is a big day for Parkes.
It's a vindication.
They're here, Bob.
MAY: What do we call him?|Your Excellency?
Turn it up.|He's not bloody royalty.
It's important, Bob.
We're his first impression|of Parkes.
Mr Ambassador, on behalf of|the people of Parkes,
we welcome you to Parkes.
Why, thank you, Bob.
I can call you Bob?|Absolutely, Mr Ambassador.
Howard. And this is...?
Len.|G'day.
I mean May. My wife, May.|She's the lemon.
RADIO: 'Apollo 1 1 ', Houston.|We recommend you accept 1 '49.
Continue through|your sequence of sighting
and then we'll analyse the data|afterwards, over.
ASTRONAUT: OK.
Cliff?
Time for a cup of tea?
I haven't been treated like this|since I stripped harvesters.
He reckons the only people|who can do a job properly
are Americans.
Aren't you being|a little unfair?
Cliff,|what's happened to you lately?
I'm sorry.|I'm sorry, that came out wrong.
But this was always your dish.
You'd never let anyone else|come in and run the place.
We're part of a worldwide team|on this.
Part of NASA.|And what's NASA?
It's money and equipment|on a plate.
No, Mitch. NASA's just|a bigger bunch of us.
Have you thought about|what's being attempted here?
Of course I have.
We're in the middle|of the greatest feat ever attempted.
This is science's chance|to be daring.
What are you doing?
Standing around, bitching.
( FOOTSTEPS )
Rudi.|Fellas.
Janine dropped some food over|from the dance.
Lovely.
Her and Glenn are down there|by themselves?
Yeah.
I don't know if you guys have noticed,|but Janine likes Glenn.
Is that right?
Rudi, what's with the gun?
It's an official|NASA installation, Mr Buxton.
We may need this.|Don't worry about that - I've tasted it.
What?|The food.
It could have been|tampered with.
We can't take chances, guys.
Do you want a couple more?|Thanks, I'm still starving.
(Clicks radio) Leaving Sector A.
Um, I thought the foyer|was Sector A.
Yeah. It was.
But now I've decided to go|alphabetically
from the top down.
That's not locked in yet.
Cliff.
This whole thing -|I can't believe I'm a part of it.
Certainly can't believe|Rudi's a part of it.
(Laughs)
Me too.
Helen would've been proud.
(Band plays|'God Save the Queen' badly)
Ladies and gentlemen,|distinguished guests,
please remain upstanding|for the national anthem
of the United States of America.
(Plays 'Hawaii Five-0' theme)
(Mouths)
CLIFF: PKS, Houston.|Confirm handover at 1 700 hours.
HOUSTON: Roger, PKS. Copy, 1 700.
PKS, out.
Where'd you get the chocolate?
Janine.
So, um...
I will, Cliff. I will. I promise.
( BAND PLAYS,|GENERAL CHATTER )
The Prime Minister's people|want to meet and greet,
and I can't find the car keys!
About to call a cab|and what do I see...
The keys in the car door.|Why don't we dance?
(All laugh)
Keys were hanging out the door.|(Laughs)
( 'A TASTE OF HONEY' PLAYS )
Not too racey?
Oh, no.
Marie.
What?
I was wondering|if you'd like to dance.
Are you stupid?
No.
Would you?
You're sure I wouldn't be|in the way?
We'd be honoured|to have you visit.
Sorry about that mix-up|earlier, Howard.
No harm done, Bob.
Sometimes I wish it was|our national anthem.
(Laughs) Oh, beauty.|You'll love this bloke.
(Sings) # Fly me to the moon
# Let me swing|among the stars... #
He's from Brisbane.
Is he? He's a little like Frank Sinatra.
Mmm, if not better.
# ln other words,|hold my hand... #
( ELECTRICITY FUSES )
Oh, who's playing funny buggers?
Shit!
( DRAMATIC MUSIC )
We're sorting it out.|Copped another surge.
It's not that pie-warmer again?
MITCH: What's happened?|CLIFF: Blackout.
GLENN: Control panel's dead.
Sorry, folks.|Have it fixed in a jiffy.
Receivers.|Negative.
Demodulators.|Nuh.
Whole rack's dead.|Everything's dead.
Bloody hell.
What happened to|the backup generator?
Shit.
(All gasp)
( APPLAUSE )
Sorry about that, Howard.
No trouble for me, Bob.
As long as everything is fine|out at the installation.
What, the dish? Oh, they'd have|all that under control.
Backup generators, the works.|I'll check with Al.
Where's Al?
( 'THE LOVED ONE'|BY THE LOVED ONES PLAYS )
Anything?
Nothing.
We've lost lock.
What happened to the generator?
Er, the fuel pump.
What about it?
Well, when I drained it,|I must have...
I forgot to|prime the lines again.
You forgot?!|It was...
How could you let that happen?!
This is what happens...|Don't you dare!
Alright.
We've got to find that ship.
Switch to manual drive,|see if we can get a lock.
What's its position?
Um...
CLIFF: Come on!
I think the computer's wiped.
Oh, shit.
Are we stuffed?|Kinda.
Glenn?|Yep, we're stuffed.
What's that noise?
It's moving.
CLIFF: How?
M.E. must be chasing|its own tail.
Shut it down.|We'll have to override...
( GEARS STOP )
How far did it move?
Far enough.
Are we sending anything?
RADIO: Sydney OTC,|this is Flight Control Houston.
Are you receiving a signal|from Parkes?
SYDNEY: Negative, Houston.
HOUSTON: PKS, Flight Control|Houston here. Do you copy?
Flight Control, this is Parkes.|We copy.
HOUSTON: Parkes, we've lost|your signal. Confirm status.
Er, Houston, this is Parkes.|We still have a strong signal.
Must be a relay problem.
HOUSTON: Copy that, Parkes.|We'll look into it. Stand by.
Parkes, standing by.
Cliff, that's bullshit.
You just bullshitted NASA.
That's not good.
Oh...
I bought us some time.
AL: Let me get this straight.
You've lost 'Apollo 1 1 '.
Yep.
Southern Hemisphere's|prime receiving station
has no idea|where 'Apollo 1 1 ' is.
It's on its way|to the moon.
Computer can't lock us back on?
Once it loses power,|it loses data.
I thought there's|an uninterruptable power source.
It was designed as a UPS,|but, um,
the generator|didn't kick back in.
How come?
It just didn't, Al.
Look, the power's back on.|Everything's under control.
Except we've lost 'Apollo 1 1 '.|Except for that.
We have the data, it just has to|be programmed back in.
How long will that take?|Glenn?
Hours. A day. Month.|How long, Glenn?
Take a shot.
1 2, 24 hours.|It's a lot of calculations.
If we're not relaying data,|Houston would've noticed.
Well, as a matter of fact,|they did call.
What did you tell them?
I told them that the problem|wasn't at our end.
You lied?|GLENN: Bullshitted them.
We have to tell them, Cliff.|That we stuffed up?
Yes, that we stuffed it.
Like they stuffed|the Southern Hemisphere coordinates.
They'll give us|the current position.
And say we're not required.|Excuse me?
We're dickheads who can't maintain|a practice signal.
I'm telling you...|Listen, Al.
We can reprogram the system.
We need you to keep NASA|off our backs.
Cliff, I am NASA. And I'm saying|we tell them what happened.
RADIO: PKS, Houston NC.
Go ahead, Houston.
HOUSTON: Spoken to IMCO.
No closer to finding|this breakdown.
Are you sure it's downstream?
PKS...
..is still online, Houston,
confirming loss of signal|downstream.
HOUSTON: Roger that, Parkes.|We'll maintain alternative feed.
(Murmurs) What have I done?
You bullshitted NASA.|Good man, Al.
Right, let's get cracking.
SONG: # I chose you|for the one... #
I've never been more proud of|being mayor than I was tonight.
Plus I got to go home|with the prettiest girl at the dance.
You look great in yellow.
Lemon.|Lemon.
( PHONE RINGS )
Who's that?
Crikey! There'll be|1 0 or 1 5 press coming with it.
They're not going to be mugs.
Alright.
Alright, what if you|come clean, just tell NASA?
Tell them what?|Th-that, um...
That we lost 'Apollo 1 1 '?
I wouldn't say that first.|What would you say?
Well, you know, "Hey, you'll|never guess what happened..."
Bob, it's 'Apollo 1 1 '.
What would they do?
I'm not exactly sure.
Pull the pin?
Well, not officially,|but they might downgrade our role.
We'd lose the moon walk.
Try keeping a lid on that.
We'll be the punchline|to a joke.
RUDl: Who goes there?
It's just us, Rudi.
Oh, OK.
Who?
Cliff and Bob.
Hi, Bob.
Rudi.
How are you?
Good. Fine.|OK. Nighty-night.
We know roughly when they reappear,|but not where.
The same place as yesterday.
Yesterday, they were orbiting.|Now they're translunar.
We'll have to re-do every angle.
That'll take forever.
Make it a two-body calculation.
Get an approximate fix|then scan.
Yeah, that should do it.
I'll give you a hand|with the figures.
Al, I found out what happened|to the generator.
What?
I forgot to prime|the fuel lines.
Well, these things happen.
Better get to work.
If we come on-stream tomorrow,|it never happened.
You think you can do it?
I made a commitment to NASA|and I intend to fulfil it.
Haven't heard that tone|for a while.
You remember that night|at my place,
trying to sort out the contract|with that fella from NASA?
"What about this?|What about that?"
Two hours,|and you finally speak.
"Gentlemen,|this should be the contract.
"We agree to support|the 'Apollo 1 1 ' mission."
That was it - one sentence.|They couldn't believe it.
It was a wonderful moment.
But this isn't.
No, this is a shithouse moment.
RUDl: Halt. Who goes there?
( SHEEP BLEATS )
( WONDROUS MUSIC )
MITCH: Glenn?
No, I'm not sure.
I thought you said|you were confident.
I am. I was.
Look, it's got to be within|this range.
But if we sweep here,|it may be outside and we miss it.
And if we sweep wider,|well, we still might miss it.
You're confident about that?
They're in the commanding|service module
until they reach the moon,|and the rockets aren't on.
Really?|They just sit and wait.
Is that right?
This is the fastest|man's ever travelled.
Go on.
If you ask me,
it's the biggest|chauvinistic exercise in history.
That's why nobody asks you,|darling.
There you go, Bob.
I'll go get|my 'Saturn V' rocket.
Yeah, go get it. Thanks, love.
Is everything alright|at the dish?
Maysie, can you keep a secret?|(Laughs) No.
What's happened, Bob?
What if we split the difference?|Ship's moving too fast.
OK, let's just call Houston|and ask for the current coordinates.
Which tells them|we've been bullshitting.
Just tell them what happened.
We lied - that'll go down well.|I don't think it will.
Morning, everyone.
How's it going?
Good.
You were on the news again|last night.
Is everything alright?
Glenn?
Um, yeah. It's fine.
Glenn was just checking...|some stuff.
Oh, really?
Oh, well, I'd better let you|get to it.
I'm sorry for interrupting.
Not at all, Janine, really.
Thanks for bringing the food.|No problem, Mr Buxton.
Cliff, what do you want to do?
Just give this|a little more thought.
RUDI ON RADIO:|Sector G, come in.
GLENN: Let me|just try something.
Not now, Rudi.
You've got a visitor.
It's the ambassador.
Of the United States of America.
Oh, God.
RUDl: ls this thing working?|Just a minute, Rudi.
Roger that, Sector G.|Confirm Sector A, hold on.
He asked to visit.|I didn't think he'd come so soon.
He's here.
Space nut. Knows everything|about 'Apollo 1 1 '.
Does he know where it is?
OK, let's make this brief.
Send him up, Rudi.
Roger that.
This is the main control panel.
That moves the dish up and down
and that's|your sideways movement.
It's incredible.
You can actually pinpoint|a tiny spaceship
thousands of miles away
and lock onto it.
Pretty much.
The ambassador didn't sign in,|but I've let it go.
Didn't want to pull rank|or anything.
Now, correct me,|but the other facilities down this way -
North West Cape|and Honeysuckle Creek -
they also have voice|and telemetry, yes?
That's right, sir.
But when it comes to TV,|yours is the only dish large enough?
Yeah.
How does that make you feel?
Where do you get them glasses?
Sir, I'm afraid that|we're entering overlap now.
Oh. So you'll be getting|transmissions?
Yeah.
You'll be able to hear Armstrong|talking to Houston?
Just by hitting|a couple of buttons there.
Oh, let's do that.
Sure. OK.
I don't think that, er...|No, you're right.
I don't think...
Just a brief listen|and then I'll go.
MITCH: Not a problem.
Er...l'll just have to...|reorient...the, er...
Al.
Cliff, if you could patch|the audio in from Mezzanine 3.
MAN ON RADIO: Columbia, Houston.|Guidance systems OK.
You're still go for auto.
MAN 2: Copy that.
MAN 1 : Telemetry reports that|O2 and CO2 are OK and steady,
and biomed telemetry|is now reading your vital statistics
as being adequate|within the limits.
(American accent) Copy that.
Neil, we have you currently|at 1 24,000 nautical miles from Earth
and at an approach velocity|of 32,000 feet per second.
MITCH: Copy that.
AL: We might just let you|get back to work.
MITCH: Copy that.
RUDl: ls that you, Neil?
I repeat, this is Sector A.|Is that you, Mr Armstrong?
(Pulls plug) That's funny.
Must be a crossed line|from Honeysuckle Creek.
Sir, we must get back|to work now.
Oh. Oh!
I'll see you out.
I'll just move the dish.
Oh, it's incredible.
That was a true highlight.
I was going to say good luck,
but after what I've seen here|this morning,
you gentlemen don't need it.
Thank you very much, sir.
Mr Buxton, you'll never guess|what happened.
Later, Rudi.
Should I get him to sign out?|Just wait.
That's got to be a felony.
Right, let's find this ship.
Glenn.
Moving target.|Everything's moving.
If we had a point of reference,|maybe we could do it.
We take a punt.|Choose a sector, arc that.
GLENN: It's still a long shot.|I thought you were confident.
I know where 'Apollo 1 1 ' is.
It's on its way to the moon.
That's your point of reference.
They've gone 1 50,000 miles.
They've got to be|within 3 or 4 degrees.
Yeah. That might be OK.
I think it might be OK.
Yeah.
So, we can rub this out?
MITCH: 5707...5708...
( GEARS STOP )
There's your moon.
Have a fish around, Mitch.
( SUSPENSEFUL MUSIC )
6730.
MITCH: 6731 .
( BEEP! )|We've got a signal!
It's 'Apollo 1 1 '.
Definite?
GLENN: 2.28.|AL: It's the tin can.
Glenn?
Yep! Signal lock!
( RADIO BABBLE )
PKS, Houston Net 2.
HOUSTON: Houston, PKS.
Parkes is online.
HOUSTON: Copy that, Parkes.
And, copy, we're receiving|your signal.
Switching to master equatorial.
And with 1 5 minutes to spare.
Just enough time|to go and check the generator.
(Chuckles)
It's great news, Cliff.
( KNOCK AT DOOR )
Ah, look, I've got to dash.
Um, look, I appreciate the call.
What? (Laughs)
Yeah! 'Bye.
Major Mclntyre.|Keith.
What?
Oh, I just wanted|to ask Marie something.
Fire when ready.
Marie, it's Keith.
Would you like to watch|the moon landing with me on Monday?
MARIE: Don't you get it?!
Get what, sir?
I think that's a no.
Oh.
You're a brave lad.
RADIO: 'Apollo 1 1 ',|this is Houston, over.
ASTRONAUT: Roger, go ahead,|Houston. 'Apollo 1 1 '.
HOUSTON: '1 1 ', Houston.|You are go for LOl, over.
ASTRONAUT: Roger, go for LOl.
Houston, 'Apollo 1 1 '. You want|to give me a time check, please?
HOUSTON: Give you a mark of|1 3 minutes and 30 seconds to ignition.
ASTRONAUT: Roger.|HOUSTON: Roger, out.
HOUSTON: 'Apollo 1 1 ',|all your systems are looking good.
Going around the corner,|we'll see you on the other side, over.
TELEVISION:|..will orbit the moon
in preparation for its historic descent|to the lunar surface
on Monday afternoon...
That's all we need to know.|Vol-au-vent?
Ah, thank you.
The boys give you a tour?
Oh, yes.|Very impressive facility.
And you actually heard|Neil Armstrong.
I had the privilege.
How did he sound?
Like he was next door.|(Gasps)
SONG: # We have got to|get it together
# We have got to|get it together now... #
That was a day and a half.
I'll be 52 on Monday.
Oh, happy birthday.
52 years,
and half of them in radio telescopes,|mapping the stars.
And then this came along.
Your pipe.
No, the moon mission.
Do you know what I thought|when it first came up?
You beauty.
I thought,|"Imagine stuffing that up."
Isn't that odd?
What?
Well, that I was more scared|than excited.
I don't think that's odd.|I feel like that all the time.
How come you changed?
My wife said something.
She said, "Failure is never|quite so frightening as regret."
Oh, that's good advice.
Yeah, pretty good.
I wish someone|would tell me that.
God bless you, Glenn.
( 'LET'S GET TOGETHER'|BY THE YOUNGBLOODS PLAYS )
# Love is but a song to sing
# And fear's the way we die
# You can make|the mountains ring
# Or make the angels cry
# Though the bird is on the wing
# And you may not know why
# Come on, people, now|Smile on your brother
# Everybody get together
# Try to love one another|right now... #
Al.
Yeah.
When I said|I was sorry about...
..l meant I was sorry|for everything.
Mitch, that's not necessary.|No.
When you first arrived,|I felt a little...
..you're this hot shot from NASA
and I'm some country kid|with the arse falling out of me daks.
Your...?|Pants.
The point is I was wrong.
I never thought of you
as a guy with|the ass falling out of his...
Daks.|..daks.
Everyone at NASA|is a college genius.
The guy I most admire is from|a one-horse town in Ohio.
And what's he do?
Tomorrow he's going to|walk on the moon.
Who's the guy?
AL: Armstrong.
You know, it would've been OK|to tell Houston.
Things go wrong there|all the time.
Oh, yeah.
Mission Control turns blue|every launch
from 50 people|holding their breath.
Guess how many rockets blew up|before we put men inside them.
That's a while ago.|Six weeks ago.
Testing the lunar landing module.
1 0 simulations without a hitch.
On the 1 1th, the controls jammed.|It crashed and burned.
Strewth. Any idea why?
No, they still have no idea why.
Let's hope 1 1|isn't an unlucky number.
We pray also for those three|brave souls who, as we speak,
are taking the first steps|and exploring God's great universe.
And for the many technicians|and scientists
whose efforts contribute to|this brave endeavour.
BOB: lf you think|this 'Apollo 1 1 ' thing's big here,
you should hear what's going on|in the States.
Really?
What were you saying|last night, Howard?
You shouldn't drink so much.|(All laugh)
If you'll excuse me.
He was round for dinner|last night.
Imagine two basketballs.
One's there and one's there|and there's a valve on top.
They won't be televising|the whole time?
Wouldn't have thought so, no.
Bounces off the basketball,
and then it bounces off|the Goldstone one...
They could sneak around the back|and have a... (Whistles).
Reckon it depends.
On whether they're doing|a number... (Whistles)
..or a number...|(Whistles twice)
What was that, Ray?
We're just having a chat|about the television coverage.
Oh, yes.
Listen, whereabouts around here|can I take a... (Whistles)
Ah, thanks.
# Smile on your brother
# Everybody get together
# Try to love one another|right now... #
Thanks for bringing|the sandwiches.
Thanks for fixing my bumper bar.
Oh, that's OK.
Have you...|Janine, I was wonder...
(Both giggle)|You go first.
No, you.|What were you going to say?
N-nothing.
What about you?
Nothing.
CLIFF: Has he asked her out yet?
(Sighs) No.
Oh, this is painful.
JANINE: No,|I really like weekends too.
Yeah, I like Fridays
'cause you're always|looking forward to the weekend.
BOTH: Yeah.
What were you gonna say before?
Nothing.
What were you going to say?
Nothing.
Alright.
See you.|See you.
Do you want to go out|Friday night?
What did you say?|Um, nothing.
Did you just say, "Do you want|to go out Friday night?"
Um, maybe.
I'd love to go out Friday night.
Oh...with me?
(Giggles) Yes.
Righto, then.
Righto, then.
(Starts engine)
He ask her out?
Um, I'm not sure.
Cliff, I had a chat to AI|this morning.
Really?|Yeah.
He's not such a bad bloke.
You should give him a chance.
You'll be right|for a couple of hours?
Yeah, we'll be right.
If you've got problems...|I'll call Rudi.
BOB: Have more.|That's prime Parkes lamb.
I've got enough.|More where that came from.
I'll just have the vegetables.|Yes, dear.
Cliff?|This is wonderful, May.
Glad you could get away.|The boys have it under control.
When are you up?|Not till four.
Tomorrow's the big day.|All being well.
Man on the bloody moon, eh?
Gravy?
It's extraordinary, sending men|off into the galaxies
as the whole world watches.
Certainly takes your mind off|our trivial concerns.
Elbows.
Our school's watching it.
I think every school|will watch it.
What are they estimating?|I believe it's 600 million.
600 million?
600 million.
Peas?
Do the people in lndia|get to watch it?
Yeah, but all on the one telly.|(All laugh)
I'm serious.
Far too serious, darling.
How are they filming it?
Cliff.|No, go ahead.
There's a boom outside|with a camera.
Once Armstrong's outside,|he'll pull a ring and it'll swing out.
Is there an antenna on the roof?|Transmitter, Dad.
Right, Billy. It's about|the size of that bowl there.
Pumpkin?|Yes, please.
All this effort for television.
When NASA first came,|they hardly mentioned television.
Interesting change, isn't it?
Still not sure what's more important|to get back safely -
the astronauts or the pictures.
MAY: How lovely. Elbows.
MARIE: Can I ask a question?|Sure.
Is this mission being funded|by the CIA?
Not entirely.
Really?|No.
(All snicker)
How do they know they won't sink|when they land?
Crikey!|MAY: Oh, good Lord!
Well, we actually know|a great deal about the moon -
soil composition, density,|the gravitational force.
There aren't too many mysteries.
If we know so much, why go?
There's one thing|that we don't know.
BOB: What's that, Cliff?
Whether we can get there.
(Whispers) Elbows.
Well, let's start.
Man on the moon or not,|we've still got to eat.
You'll really like that.
MAY: Oh, dear.|BOB: Oh, strewth.
Back to work, eh?
Well, it's all go.
May, that roast lamb|was magnificent.
I'll bet you don't get that|in Houston.
No.|We can't have you wasting away.
Thank you.
Thanks very much, May.
It's been quite a while|since I've had a good roast.
Oh, Cliff.
Billy.|Good luck for tomorrow.
Thank you.
Marie, it was an absolute pleasure|to meet you.
Really?
Really.
How are you feeling?
I'm fine.
Heard the Prime Minister|on the news this morning.
Could he just shut up about it?
Do you ever have those moments|and you wonder,
"What are we doing in the middle|of the 'Apollo 1 1 ' mission?"
Never mind, Bob.|They'll probably knight you for this.
Or behead me.
Dad!
Keith!
About face!
Quick march!
Boy's not a soldier,|he's a Kamikaze.
SONG: # I like to dream
# Yes, yes
# Right between|the sound machine
# On a cloud of sound|I drift in the night
# Any place it goes is right
# Goes far, flies near
# To the stars|away from here... #
What are you grinning about?|What? Nothing. What?
You've had a smile|on your face all day.
(Laughs) No, I haven't.|Yes, you have!
Hello. How was lunch?
Actually, it was wonderful.|I think we ate an entire sheep.
Glenn. Rudi's on the way.
All in order?
Yeah, I'll just check|the receivers.
I'll do it.|I'll stow the dish.
I'll take a hayride.|Yep.
Hayride? What's a hayride?
CLIFF: When it's down|we can't get up through the core,
so it's just as quick|to go for a ride.
AL: OK. Interesting.
OK, Mitch.
And, strangely,|this is not in the manual.
Mm-hm. Curious oversight,|wouldn't you say?
(AI chuckles)
( GEARS WHIRR )
It wasn't good,|what you said at lunch.
What's that?
One thing we don't know|is whether we can get there.
Yes, it's easy to forget.
Before I left Houston,
the scientists had planned|all these experiments
for Armstrong to do -
rock samples,|measuring radiation.
Flight director put his foot down,|so they say to him,
"You tell us - if Armstrong|gets to the moon,
"what's the most important thing|he should do?"
FD says, "Get off it."
(Both chuckle)
CLIFF: Well, I guess|that would be number one.
I kind of felt for him,|you know?
To be honest, there's really|only one thing I want to see.
Something about putting|a footprint on the moon.
Makes our spirits soar.
Exactly.
Did you come up with that?
Actually, I'm ashamed to say|I didn't.
It was my wife.
She died last year.
I'm sorry to hear that, Cliff.
She was so excited by all this.
Made me realise|that I should be excited too.
And I am.
The only thing is|she's not here to share it.
So, there it is.
( MELANCHOLY MUSIC )
MITCH: 34, 36..|CLIFF: Hold it there.
Glenn?|Yep.
Strength?|Negative 1 40.
Intermittent lock on prime.
Do you want me to...|No.
Glenn, run AGC.
Auto gate control running.
Yep, negative 90.|Solid lock. We're on, Cliff.
( RADIO BABBLE )|Switching to M.E.
Got it.|All yours, Al.
AL: Houston Net 2, PKS.
RADIO: Houston Net 2.
AL: Parkes is online.
ASTRONAUT: Control, Houston,
the RCS has supervised|that we're all go.
HOUSTON: Roger.
Mike, would you confirm|thruster B3 and C4 are off? Over.
COLLINS: C4 is off. B3 is off.
I've got my roll jets|back on now.
ARMSTRONG: And you're|manoeuvring, right?
COLLINS:|I will be shortly, Neil.
HOUSTON: 'Apollo 1 1 ', Houston.|We are go for undocking, over.
ARMSTRONG: Roger, understand.
HOUSTON: 'Eagle', Houston,|we see you on the screen, over.
( SOPRANO ARIA UNDERSCORES )
ARMSTRONG: Roger.|'Eagle's undocked.
HOUSTON: Roger.|How does it look?
ARMSTRONG:|The 'Eagle' has wings.
HOUSTON: Roger.|ARMSTRONG: Looking good.
HOUSTON: Roger, Neil.
If you give us data,|we've got some notes for you.
HOUSTON: We reckon now|you're go for PDl, over.
ARMSTRONG: Roger, understand.
RADIO: Bob McNeil with|another 'Apollo 1 1 ' update.
The descent|of the 'Eagle' landing module
has entered its fifth|and final hour.
And according to|the Flight Control Centre at Houston,
the status is still go|for a landing.
We believe the 'Eagle' module
is in the final critical stages|before touchdown.
So, just repeating,|in a matter of minutes,
astronauts Neil Armstrong|and Buzz Aldrin
will attempt to land|on the surface of the moon.
MITCH ON RADIO: Rudi.
Rudi!
Rudi, Sector 5...A...D...E.
Um, Rudi, over.
They're about to land, mate.
RADIO: 'Eagle', Houston.
After yaw around,
angle S-band pitch|minus 9 yaw plus 1 -8.
'EAGLE': Roger.
HOUSTON: You are go...you are go|to continue powered descent.
You are go to continue|powered descent.
RUDl: Have they landed?
Almost.|'EAGLE': ..go for landing.
3,000 feet.
HOUSTON: We are looking great.
'EAGLE': 2,000 feet. 2,000 feet.|47 degrees.
HOUSTON: Roger.|'EAGLE': 37 degrees.
HOUSTON: You're go.
'EAGLE': Program alarm.|AL: Did he say alarm?
'EAGLE': 1 201 alarm.
HOUSTON: Roger, 1 201 alarm.
"1 201 - executive overflow."|Computer's overloaded.
They're gonna abort.
'EAGLE': OK, we're go.
HOUSTON: We're go.|MITCH: Jesus, they're going it.
'EAGLE': 743.
'EAGLE': 540 feet, down at 1 5.
'EAGLE': 350 feet, down at 4.
'EAGLE':|Altitude-velocity light.
And down. 220 feet.
1 1 forward. Coming down nicely.|200 feet. 4.5 down.
5.5 down.
1 00 feet. 3.5 down. 9 forward.
75 feet and looking good.|Down a half.
6 forward.
HOUSTON: 60 seconds.
'EAGLE': Lights on. Forward.
Fuel?|I think so.
'EAGLE': 30 feet down. 2.5.
Kicking up some dust.|Faint shadow.
4 forward. Drifting|to the right a little.
HOUSTON: 30 seconds.
It's definitely a fuel call.|30 seconds of fuel left.
'EAGLE': Contact light.
'EAGLE': OK, engines stopped.
HOUSTON: We copy you down,|'Eagle'.
'EAGLE': Houston, er...
..Tranquillity Base, here.
The 'Eagle' has landed.
HOUSTON: Roger, Tranquillity.|We copy you on the ground.
They're on the moon.
(Laughs)
(All laugh)
Whoo!|MITCH: Bloody hell.
(Sighs) Oh! 30 seconds of fuel.
RUDl: So what happens now?
AL: Sleep break.
RUDl: It's a good idea.
TELEVISION: Just confirming,
Armstrong and Aldrin|are on the moon,
both men preparing now|for EVA...
What's that?|Extra-vehicular activities.
Hey?|The moon walk!
Oh.
Hey, did they get rid of|that hydrogen?
Dad, they needed that for fuel.
Oh...
TELEVISION: I must stress|these are not to scale.
Marie, the Prime Minister's|on his way!
He's a fascist!|I beg your pardon!
Bob, speak to Marie.
(Calls) Marie!|(Sighs)
TELEVISION: ..to collect|some rock samples.
Here at the CBS news|space centre...
I might just shut that.
What?
Wind.
Glenn's onto the bureau.
What's it blowing?|1 5 knots.
And we're rated to...|30.
So we're fine.
For now.
Come on, Glenn.|And if it goes above 30?
If it goes above 1 0|we stow the dish.
That's pointing up.|We've got to be pointing east.
We understand that, Al.
Duty forecaster says|it doesn't make sense.
Great.|Did he say anything else?
Just "hello" and "goodbye".|He was very polite.
30 knots can't be|the absolute maximum.
It's the theoretical maximum.|So it's never been tested?
No.|So...
Al, we don't know.
And quite frankly,|I don't want to know.
There's 1 ,000 tons|above that azimuth track.
GLENN: That's not good.
Alright, let's just...
We've got nine hours|until they walk.
Could this thing|blow itself out by then?
Yeah, I reckon it could.
Yeah...
Yeah.
Good.
Cliff, Bob.
Just ringing to say good luck.
( CAR HORN TOOTS )|Hang on.
There in a minute.
It's a bit breezy this morning.|That wouldn't affect...?
Right.
What happens then?
Oh, I see. So...
You reckon?
Yeah.
Crikey.
It's a special day, Bob.|Yep.
It's thanks to you.
I wouldn't take all the credit.
You got the dish here.|Thanks.
When people think of|the moon walk,
when they think of|the role Parkes played,
they'll think of Bob Mclntyre.
Your name...|Len! Shut up!
RADIO: The Prime Minister|arrived in Parkes
where he was greeted by|US ambassador Mr Howard Cotfield,
along with local dignitaries
and townspeople eager to watch|the historic lunar landing.
BOB: This is Cliff Buxton,|the director of the facility.
Oh, yeah.
That was the official opening.
Why did they decide|to build the thing here?
If I may, Bob?
Weather, Prime Minister.
Parkes has the sort of stable|climatic conditions
conducive to the operation|of large-scale radio telescopes.
( ALARM RINGS )
(Turns off alarm)
Fire?
We've hit 30 knots.
Glenn, get back to the bureau.|Sure.
RUDl: What's up?|Relax, Rudi.
What's the bell for?|Lets us know it's windy.
I could've told you that.|It's blowing a bloody gale.
Well done with all this.|The ladies helped hang these.
No, 'Apollo 1 1 '.
Your dish.
Thank you, Prime Minister.
And congratulations|on getting the nod.
The party needs performers.
How are they going out there?
Oh, good, good. Perfectly.
We sit here on our arses|for five bloody days.
Not a breath of bloody wind.
Then, on cue, out of nowhere,|just when it's our turn,
a bloody cyclone|decides to park its arse on us!
Um... I'm sorry, lads.
(Clears throat) I just...
..might just go check|some bloody thing.
Yeah, it's all going well.
Obviously nothing's foolproof.|There's always limitations.
Well, there are no guarantees,|all things considered.
Life, I guess.
You're joking, aren't you,|Mclntyre?
Yeah. (Chuckles)
Yeah, everything's fine.
You know, Mclntyre,|we have a saying in the party.
You don't fuck up.|Eh?
That's it.
Cliff!
What?
They're walking early.|Armstrong overruled the sleep break.
Armstrong's overruled it?
Said, "We don't want to sleep.|We want to walk."
Armstrong - he goes for it.|Rudi!
When do they walk?
Soon. Now.
So we're off the hook.
No.
Goldstone are having|relay problems.
They want us up from the start.
How? We don't see the moon|till 1 :00.
GLENN: 1 2:56.
AL: Come 1 2:56,|if Armstrong hasn't walked,
this dish has got to be|pointed at the moon.
From now this place|is locked down.
No-one gets in. Understand?|Yes, sir.
We'll have to move this dish.
There is a safety issue, Al.|I understand that.
We're under no obligations|in these conditions.
Mitch, what will happen?|Dunno.
What do you think will happen?
It's a big sail area.
The wind grabs hold of it...
( WIND RUSHES )
We wait.
Come on. They're going early.|It could happen any moment.
Come on, quickly.|You'll miss it.
I'd do the same.
If I just landed on the moon,|I wouldn't want to sleep.
Like telling your kid|to sleep in Christmas morning, eh?
(Laughs)
More tea, Prime Minister?
Oh, yes. Lovely.
Bob, they're going early.
Yeah, I know.
Are you alright?
I am now.|Sorry?
Goldstone can take the pictures.
Goldstone?
Cliff can't move the dish|in this wind.
Good Lord!
Hopefully it'll die down|and they'll be able to use us later.
Still, it would've been nice|to have been there from the start.
Bob, it doesn't matter|what pictures are caught by who.
We're part of the team.
That's the most important thing|right now.
Yeah, you're right, Maysie.
Shirt, Bob.
At least the boys at the dish|can relax for a while.
( BANGING )
Mitch?
Getting worse.|It's gusting to 50.
Can't move this dish.
RADIO: PKS,|Radio Houston TV Net 2.
AL: PKS Video. Go ahead.
HOUSTON: We've still got|relay problems with Goldstone
and we'll need you|as a prime receiver.
Prime?
HOUSTON: The signal|between Goldstone and Houston's dead.
It's gone to ground somewhere,|and it's still go for walk.
Roger, Houston.|We'll advise when in position.
HOUSTON: Roger, PKS.|As soon as possible, please.
AL: Cliff?
Glenn, come here.
Mitch, talk to me.
It gets shaken like this|in the upright position.
What are you saying?
It's not designed|to take these forces.
It was a question...|Wait. Finish.
It could collapse.
Man's about to walk on the moon.
And he still will.|No-one's going to see it!
Al, let's be clear about this.|There are five lives at risk.
I'm responsible for those lives.
Most people would say
that's sufficient reason|not to move the dish.
And everyone'll accept that.
But will you?
You were right, Cliff.|This is science's chance to be daring.
If we don't move this dish now,|it may as well be rubble.
Al?
I still think|1 1 's a lucky number.
Glenn?
What?
Sometimes you've got to|take a risk.
Alright.
Let's do it.
I like that Cliff -|he goes for it.
From north to south|They came from near and far
To witness man take to the sky
In search of moon and star.
But ponder this|as rockets fly...
( GEARS WHIRR )
( TENSE MUSIC )
( BANGING )|Oh, Jesus!
65 miles an hour.
Keep going, Mitch.
Neil Armstrong and Buzz Aldrin,|the lunar surface near.
TELEVISION: Geoffrey,|what's happening now?
GEOFFREY:|From the voice transmissions,
we can tell Armstrong has commenced|his evacuation.
We expect television pictures|any moment.
( TENSE MUSIC )
Christ! What the hell was that?
Drive cog must have slipped a few teeth.
Either that,|or Janine's trying to park.
CLIFF: Stick with it, Mitch.
I'm staying, mate.|Whatever happens.
ARMSTRONG: Houston,|I'm on the porch.
He's out of the LM.|HOUSTON: Roger, Neil.
He's outside!
HOUSTON: Columbia, Columbia,|this is Houston.
One minute, 30 seconds to LOS.|All systems go. Over.
( MUSIC INTENSIFIES )
HOUSTON: Houston, roger.|We copy.
'EAGLE': Standing by...
And we're in position now.
Good boy.
CLIFF: Glenn?
Nothing.|ARMSTRONG: Houston.
This is Neil. Radio check.
HOUSTON: Neil, this is Houston.|Loud and clear. Break, break.
Buzz, this is Houston.
Radio check and verify|TV circuit breaker in.
ALDRIN: Roger,|TV circuit breaker's in...
..and read you loud and clear.
HOUSTON:|Parkes, please advise status.
PKS in position, signal...
..negative.
MITCH: Glenn?
The moon's|still not high enough.
If he could just wait|a couple of minutes.
CLIFF: Go lower, Mitch.
I'm at 6003.|Next stop's concrete.
Offset feed.
Offset. Offset.
ARMSTRONG: OK, that's good.
ARMSTRONG:|OK, you want this bag?
Come on.
ARMSTRONG: Better.
HOUSTON: And we're getting|a picture on the TV.
BETTY: Man will then|have travelled...
It's Armstrong!
..so far from home...|Thanks.
I've got another two verses.|Man's walking on the moon.
Oh.
ARMSTRONG: You have|a good picture, huh?
HOUSTON: There's a great deal|of contrast in it.
We can make out|a fair amount of detail.
GLENN: That's Armstrong.
On the moon.
HOUSTON: OK, would you verify|the position...
Well.
(Mitch chuckles)
HOUSTON: OK, Neil, we can see you|coming down the ladder now.
( WONDROUS MUSIC )
ARMSTRONG: I checked|getting back up to that first step.
The strut isn't collapsed|too far,
but it's adequate|to get back up.
HOUSTON: Roger, we copy.
ARMSTRONG: It's a pretty good|little jump.
CLIFF: Glenn.
Glenn!
Switch back to main axis.
How's that?
GIRL: Fine.
ARMSTRONG: The LM's footpads
are only depressed in the surface|about one or two inches,
although the surface appears to be...|very, very fine-grained
as you get close to it.
It's almost like a powder.
ARMSTRONG: OK, I'm going to|step off the LM now.
That's one small step for man...
..one giant leap for mankind.
ALDRIN: That looks beautiful|from here, Neil.
ARMSTRONG: It has a stark beauty|all of its own.
It's like much of a high desert|of the United States...
Dad! He's on the moon!|I know, mate.
ARMSTRONG:|It's very pretty out here.
Thank God for that hydrogen, eh?
ARMSTRONG: Are you getting|the TV picture now, Houston?
You betcha.
HOUSTON: Neil, yes,|we are getting a TV picture.
You're in our field of view now.
ALDRIN: OK, I'm on the top step.
It's a very simple matter to hop down|from one step to the next.
ARMSTRONG: You've got three more|steps and then a long one.
ARMSTRONG: There you go.
ALDRIN: Beautiful view.|ARMSTRONG: lsn't that something?
ARMSTRONG:|Magnificent sight out here.
ALDRIN: Magnificent desolation.
(Whispers) Alright,|you can stay this once.
Get it off!
ARMSTRONG: For those who haven't|read the plaque,
we'll read the plaque|that's on the landing gear of this LM.
It says,|"Here men from the planet Earth
"first stepped foot|upon the moon.
"July, 1 969 AD.
"We came in peace|for all mankind."
It has the crew members'|signatures
and the signature of|the President of the United States.
( MUSIC CRESCENDOS )
HOUSTON: Columbia,|this is Houston.
Reading you loud and clear,|over.
COLLINS: How's it going?
HOUSTON: Roger, the EVA|is progressing beautifully.
COLLINS: Great.
HOUSTON: I guess you're about|the only person around
that doesn't have TV coverage|of the scene.
COLLINS: That's alright.|I don't mind a bit.
How is the quality of the TV?
HOUSTON: Oh, it's beautiful, Mike.|It really is.
COLLINS: Beautiful,|just beautiful.
Bob, it's a wonderful day|for Parkes.
Pearl, they're good pictures.
HOUSTON: The President|of the United States
is in his office now
and would like to say|a few words to you, over.
ARMSTRONG:|That would be an honour.
HOUSTON: Go ahead, Mr President.|This is Houston, out.
NIXON: Hello, Neil and Buzz.
Excuse me.
NIXON: ..from the Oval Room|at the White House...
(Whispers)|That was Cliff on the phone.
The pictures -|they came from us!
You bloody beauty!
Bloody fantastic!
Here's to Parkes.
MAN: The lunar age has begun.
MAN 2: 500 million people
gathered at TV sets|around the world...
MAN 1 : The date's now indelible.
It'll be remembered as long as|man survives - July 20, 1 969.
NIXON: And for people|all over the world.
I am sure that they too|join with Americans
in recognising|what an immense feat this is.
Because of what you have done...
Well done, guys.
What sector is Rudi again?
(Chuckles) A?
Copy that, Sector A.
Well done, Mr Armstrong.
HOUSTON: Roger, Columbia,|this is Houston.
Reading you loud and clear.
The crew of Tranquillity Base|is back inside their base.
Everything went beautifully,|over.
COLLINS: Hallelujah.
HOUSTON: Tranquillity Base,|this is Houston, over.
TRANQUILLITY BASE:|Roger, go ahead.
HOUSTON: We'd like to say|from all of us down here in Houston,
and, really, from all of us
in all the countries|in the entire world,
we think that you've done|a magnificent job up there today.
Over.
TRANQUILLITY BASE: Thank you|very much. It's been a long day.
Thanks, Bernie.
Well, the official telegram|will go to your prime minister, but,
"To congratulate personnel|of Parkes radio telescope facility
"for their outstanding support
"in man's first|lunar surface expedition."
Signed C. Charlesworth,|'Apollo 1 1 ' Flight Director.
Well, we did it, eh, guys?
Yeah, we did, Al.
Good work, Mitch, and well done.
Thanks, Cliff.
Congratulations, Al.
Cliff.
Good on you, Glenn.|Thanks.
I'm proud of you.
And happy birthday, Cliff.
Thanks, Glenn.
BOB: "This should be|the contract -
"We agree to support|the 'Apollo 1 1 ' mission."
MAY: It's extraordinary,|sending men off into the galaxies...
BOB: ..when you wonder,|"What are we doing
"in the middle of|the 'Apollo 1 1 ' mission?"
NIXON: It inspires us|to redouble our efforts
to bring peace|and tranquillity to Earth.
For one priceless moment,|in the whole history of man,
all the people on this Earth|are truly one.
Sir, I have to ask you to go back|and in the public entrance.
I'm very sorry.|Tours leave on the hour.
Well, maybe not today.
But you never know,|I might come back another time.
I'd do it. People get a buzz|from being up there.
I'll bet they do.
Do I know you, sir?
No, I don't believe so.
You look familiar.
Well, I'd better be off.
Right, sir. Back out|and around to the left.
SONG: # Wa-hoo
# Wa-hoo-hoo-hoo !!!!!!!!!!!!!!!!!!!!
# Wa-hoo!!!!!!!!!!!!!!!!!
# On the wings of an eagle!!!!!!!!
# I find myself|lifted through the skies!!!!!!!!!
# Lifted up above the world|to sing!!!!!!!
# On the wings of an eagle!!!!!!!!
# I find myself|lifted through the skies!!!!!!!!
# Lifted up above the world|to sing
# Can you see me?
# Can you see me?
# Can you see me?
# As the days roll on|When the nights get long
# The changing of the seasons
# And the falling autumn leaves|They bring me down
# They bring me down
# They bring me down
( INSTRUMENTAL BREAK )
# Do you lose your way|in the middle of the day?
# Do you see|your brother crawling?
# And all the while|was calling out for help from you
# Wa-hoo
# Wa-hoo-hoo-hoo
# Wa-hoo
# On the wings of an eagle
# I find myself|lifted through the skies
# Lifted up above the world|to sing
# On the wings of an eagle
# I find myself|lifted through the skies
# Lifted up above the world|to sing
# Can you see me?
Subtitulado por _Hosen_|hosen@fibertel.com.ar
( 'THE DISH' THEME MUSIC PLAYS )
DC Sniper 23 Days of Fear
D A R Y L 1985
Daddy Day Care
Daffy Duck - Drip Along Daffy (1951)
Daffy Duck - Duck Amuck (1953)
Daffy Duck - Duck Dodgers in the 245 Century (1953)
Daffy Duck and Porky - Boobs in the Woods (1950)
Daffy Duck and Porky - Daffy Duck Hunt (1949)
Daffy Duck and Porky - Deduce You Say (1956)
Daffy Duck and Porky - Golden Yeggs (1950)
Daffy Duck and Porky - The Ducksters (1950)
Daffy Duck and Porky - Yankee Doodle Daffy (1943)
Daffy Duck and Sylvester - The Scarlet Pumpernickel (1950)
Damien Omen II
Damnation (1988) CD1
Damnation (1988) CD2
Damnation de Faust La CD1
Damnation de Faust La CD2
Dance With Me
Dancer in the Dark (2001) CD1
Dancer in the Dark (2001) CD2
Dances With Wolves (Extended Cut) 1990 CD1
Dances With Wolves (Extended Cut) 1990 CD2
Dances With Wolves (Extended Cut) 1990 CD3
Dances With Wolves 1990 CD1
Dances With Wolves 1990 CD2
Dangerous Beauty
Dangerous Minds
Dantes Peak 1997
Daredevil
Dark Angel 1x15 Haven
Dark Angel 1x16 Shorties In Love
Dark Angel 1x17 Pollo Loco
Dark Angel 1x18 I Am I Am A Camera
Dark Angel 1x19 Hit A Sista Back
Dark Angel 1x20 Meow
Dark Angel 1x21 And Jesus Bought A Casserole
Dark Blue
Dark Blue World (2001)
Dark City
Dark Passage
Dark Water
Dark Wolf
Dark Woods (2003)
Darkness
Darkness 2002 CD1
Darkness 2002 CD2
Darling 1965 CD1
Darling 1965 CD2
Das Boot - The Directors Cut
Dauria 1971 - Part 1 23976fps
Dauria 1971 - Part 2 23976fps
David Copperfield - Illusion CD1
David Copperfield - Illusion CD2
Dawg
Dawn Of The Dead (2004)
Dawns Here Are Quiet The CD1
Dawns Here Are Quiet The CD2
Day A (2001)
Day After The 1983 23976fps
Day For Night CD1
Day For Night CD2
Day I Became A Woman The 2000 CD1
Day I Became A Woman The 2000 CD2
Day The World Ended The
Day after tomorrow The
Day of The Jackal [1973] CD1
Day of The Jackal [1973] CD2
Day the Earth Stood Still The
Days Of Heaven
Days Of Wine And Roses 1962 CD1
Days Of Wine And Roses 1962 CD2
Days of Thunder
De LAmour
De Vierde Man (23976)
Dead End 2003
Dead Friend
Dead Men Dont Wear Plaid (1982)
Dead Or Alive 2
Dead Presidents CD1
Dead Presidents CD2
Dead Reckoning
Dead Ringers
Dead Zone The
Dead again (1991)
Dead again (1991) Commentary
Dead man walking 1995 CD1
Dead man walking 1995 CD2
Dead or alive
Dear Diary 1994
Death To Smoochy
Death Warrant
Death Wish
Death in Venice 1971
Deathwatch 2002
Debut The
Decalage Horaire
Decalogue 06 1988
Decalogue 07 1988
Decalogue 08 1988
Decalogue 09 1988
Decalogue 10 1988
Decameron
Decline of the American Empire The 1986
Deconstructing Harry
Decoys
Deep Blue CD1
Deep Blue CD2
Deep Impact
Deep Loves CD1
Deep Loves CD2
Deep Rising
Deep Space 9 1x01 and 1x02 Emissary
Deep Space 9 1x03 Past Prologue
Deep Space 9 1x04 A Man Alone
Deep Space 9 1x05 Babel
Deep Space 9 1x06 Captive Pursuit
Deep Space 9 1x07 Q-Less
Deep Space 9 1x08 Dax
Deep Space 9 1x09 The Passenger
Deep Space 9 1x10 Move Along Home
Deep Space 9 1x11 The Nagus
Deep Space 9 1x12 Vortex
Deep Space 9 1x13 Battle Lines
Deep Space 9 1x14 The Storyteller
Deep Space 9 1x15 Progress
Deep Space 9 1x16 If Wishes Were Horses
Deep Space 9 1x17 The Forsaken
Deep Space 9 1x18 Dramatis Personae
Deep Space 9 1x19 Duet
Deep Space 9 1x20 In The Hands Of The Prophets
Deep blue sea
Defiant Ones The
Delicatessen
Delicatessen (1991)
Delirium (Delirio Caldo)(23.976)
Deliv and Daniel Webster The
Deliver Us from Eva
Deliverance
Demetrius And The Gladiators 1954
Demoiselles de Rochefort Les CD1
Demoiselles de Rochefort Les CD2
Demon Baby
Demoniacs
Demonic Beauty (2002)
Demonlover CD1
Demonlover CD2
Dentist 2 The 1998
Deranged
Derrick 2004
Dersu Uzala (Akira Kurosawa) CD1
Dersu Uzala (Akira Kurosawa) CD2
Desert Fox - The Story of Rommel
Desert Rats The
Desk Set
Desperate Hours The
Desperate Living
Destination Tokyo CD1
Destination Tokyo CD2
Destry Rides Again
Detaljer
Detonator
Detroit 9000
Dev
Devdas (2002) CD1
Devdas (2002) CD2
Devil Probable The
Devil Rides Out The 1968
Devil is a Woman The
Devils Advocate The CD1
Devils Advocate The CD2
Devils Backbone The
Devils Brigade The
Devils Own The
Dial M for Murder 1954
Diamonds Are Forever
Diana Krall Live in Paris
Diarios De Motocicleta
Diary of a Chambermaid
Diary of a Country Priest (1951 Bresson Robert)
Dias de Nietzsche em Turim
Dickie Roberts Former Child Star
Die Another Day (2002) CD1
Die Another Day (2002) CD2
Die Hard 1988 Extended Version CD1
Die Hard 1988 Extended Version CD2
Die Hard With a Vengeance
Die Nibelungen - Die Kriemhilds Rache CD1
Die Nibelungen - Die Kriemhilds Rache CD2
Diez de hollywood Los 1951
Dil Ka Kya Kasoor
Dil Ka Rishta
Dinosaur
Dirty Dancing
Dirty Dancing - Havana Nights
Dirty Harry
Dirty Tiger Crazy Frog 1978
Disaster
Discovery Air Jaws Sharks of South Africa
Discovery Channel - Raising The Mammoth
Dish The
Disha
Disorderly Orderly The
Distant Lights
Distant Thunder
Diva
Django spara per primo
Do Raaste
Do The Right Thing CD1
Do The Right Thing CD2
Dobry vojak Svejk
Dodeskaden (Akira Kurosawa)
Dodgeball - A True Underdog Story
Dog Nail Clipper
Dog Soldiers (2002)
Dogma
Dogs Of War The 1981
Dogville CD1
Dogville CD2
Doing Hard Time CD1
Doing Hard Time CD2
Dois Perdidos Numa Noite Suja 2002
Dokument Fanny och Alexander CD1
Dokument Fanny och Alexander CD2
Dolce Vita La 1960 CD1
Dolce Vita La 1960 CD2
Dolores Claiborne (1995)
Dolphins
Domicile conjugal
Don Giovanni CD1
Don Giovanni CD2
Dong (The Hole) 1998
Donggam (2000) - Ditto
Donnie Brasco
Donnie Darko
Dont Be A Menace To South Central While Drinking Your Juice In The Hood
Dont Bother to Knock
Dont look now
Dont say a word
Donzoko 1957
Door in the Floor The 2004
Doors The CD1
Doors The CD2
Dora-Heita 2000
Double Jeopardy
Double Team
Double Vision (Shuang Tong)
Doulos Le
Down By Law 1986
Down Periscope
Down Time
Down With Love
Down and Out in Beverly Hills
Dr Dolittle
Dr Jekyll and Mr Hyde
Dr No
Dr Strangelove
Dracula - Dead and Loving It
Dracula 1931
Dracula 1979
Dracula Has Risen From The Grave 1968
Dragon Head CD1
Dragon Head CD2
Dragonball Z
Dragonfly
Dragonheart (1996)
Dragonheart - Collectors Edition
Dragons Forever (Jackie Chan)
Dragstrip Girl
DreamKeeper 2003 CD1
DreamKeeper 2003 CD2
Dream Master The
Dream Of A Warrior (Cheonsamong)
Dreamcatcher
Dreamers The
Dreamlife of Angels The
Dressed to Kill 1980
Drifting Clouds
Driving Miss Daisy
Driving miss Wealthy (2004)
Drop Dead Gorgeous 1999
Drowning Mona CD1
Drowning Mona CD2
Druids
Drumline
Drums Along the Mohawk
Drunken Master (Yuen Woo-Ping 1978)
Du rififi chez les hommes (Jules Dassin 1955) CD1
Du rififi chez les hommes (Jules Dassin 1955) CD2
Duck Soup (1933 Marx Brothers)
Dude Wheres My Car
Duel The
Duel in the Sun CD1
Duel in the Sun CD2
Duel to the Death
Duellists The
Duets
Dumb And Dumberer When Harry Met Lloyd 2003
Dumb and Dumber
Dumbo
Dune 2000 - 1 of 3
Dune 2000 - 2 of 3
Dune 2000 - 3 of 3
Dungeons And Dragons
Dunken Monkey 2002
Dushmun
Dust in the Wind (Hsiao-hsien Hou 1986)
Dying td CD1
Dying td CD2
The Dawns Here Are Quiet The CD2