Should Top Gear actually make 'The Interceptors'?

  • Thread starter GT5_X2010
  • 27 comments
  • 7,109 views

Should they make this TV programme for real?

  • Yes and I'd watch it

    Votes: 21 67.7%
  • Yes but I wouldn't watch it

    Votes: 2 6.5%
  • No. It would be silly

    Votes: 8 25.8%

  • Total voters
    31
  • Poll closed .
1,990
United Kingdom
Great Britain
golfer199
Welcome to the petition of
"Should Top Gear actually make 'The Interceptors?"




I feel they should at least make a pilot to at least measure popularity. It would be funny, explosive and moustaches. And it would have three awesome Interceptors. And the top gear crew. Basically it would have everything in the opening credits.
 
Last edited by a moderator:
Yes. Has the same style and feel of the 1970's shows I love...

*Wishes he wasn't 3000 miles away from his Starsky and Hutch boxsets*
 
The name 'Rodger St Hammond' had me in stitches when I saw it come up on TV :lol:

They should at least make a 15 minute short film or something... they certainly have the budget for it.
 
Someone decided to made a thread about this? That's brilliant!

I can't see any reason why they shouldn't actually make The Interceptors (well a pilot episode at least).

Also, I thought the three presenters dancing at the beginning of that trailer was hilarious, plus did anyone notice that the car exploding at about 1:04 was an M Reg Vauxhall Astra? That would fit right into a show that's supposed to be set in the early 1970's wouldn't it :lol:
 
plus did anyone notice that the car exploding at about 1:04 was an M Reg Vauxhall Astra? That would fit right into a show that's supposed to be set in the early 1970's wouldn't it :lol:

Yeah I did, I thought gosh even The Interceptors has continuity errors :lol: Maybe they are time traveling crime fighters because I pretty sure that small plane isn't from the 70's either!
 
1 - INT. - PARKING GARAGE - NIGHT - 1

We open on an underground parking garage, slick with recent rain. We see a BRIGHT LIGHT at the far end descending into the garage, which takes the shape of a DARK BLUE JENSEN INTERCEPTOR as it comes nearer. The driver's door opens.

ANGLE ON: the feet of JASON CLARKSON. He pauses for a moment, closing the door behind him. A half-smoked cigarette lands on the concrete beside him. He stubs it out with his shoe. He starts forward; we follow, the camera still at foot level.

GILLIES
(O.S.)
Mister Clarkson.​

We see the silhouette of GILLIES, arms dealer extraordinaire. Floodlights have been set up behind him, making it impossible to see anything more than an outline. Three long tables have been laid out, each positively groaning under the weight of weapons and ammunition.

GILLIES
(cont'd)
"Tardy" does not begin to describe how late you are.​

Cut to Jason Clarkson, resplendent in all his masculine glory. The man positively oozes sex appeal.

CLARKSON
Terribly sorry. Shagging a supermodel.​

We hear a delicate feminine laugh from off-camera. Both Clarkson and Gillies look to the source.

CLARKSON
Hello, Roxanne.​

It's pretty obvious they've met before - in the same way Clarkson met with that supermodel.

GILLIES
If it were any other excuse, I'd say the deal is off. The price is now twenty-five thousand pounds.

CLARKSON
Deal.

GILLIES
What, no bargaining? No request for a demonstration? I hardly expected the great Jason Clarkson to go down without a fight. How will you even know that my merchandise is what I claim it is?

CLARKSON
Simple economics, Gillies. You control the limited supply of a high-value, and difficult to obtain commodity. I could shop around if I wanted to, but I'd end up wasting so much time and hard-earned money that I'd end up spending more than if I went to you direct. I'd happily spend twice your asking price if it meant I could have my guns now and not tomorrow, which is the best your competitiors can offer.​

Gillies smiles. He likes the way Clarkson is stroking his ego - but he doesn't make any move towards the tables.

CLARKSON
(cont'd)
Come on, Gillies. You're an intelligent man. This is a good deal.

GILLIES
I think we can work together.​

Based on the way he says it you would think this was all his idea.

GILLIES
(cont'd)
So, these are my terms: you pay half now, and half on delivery. I want the money is low-denomination notes, non-sequential.

CLARKSON
Naturally.

GILLIES
And not freshly-minted, either; a (BEAT) let's say, mutual acquaintance of mine in Blackpool fell for that one last month. He just got out of there without getting pinched by the bobbies. Forced one of them to drive off the end of Blackpool Pier. Are these terms agreeable?

CLARKSON
Yes.​

They step forward to shake hands. Gillies is a small, ginger-haired man in a poorly-made suit; it bunches at his neck.

CLARKSON
(cont'd)
There's just one thing you've forgotten.

GILLIES
Oh?

CLARKSON
In this industry, ten percent is the standard up-front payment.​

Gillies' face falls, and we find out why: A DEEP ROAR echoes through the garage as another TWO INTERCEPTORS - one RED, one BLUE - come tearing in. The both skid to identical halts, pinning Gillies and Clarkson in. ROGER ST. HAMMOND and JAMES STEED climb out, their GUNS pointed squarely at Gillies. Clarkson steps forward and cuffs him before escorting him to his own Interceptor.

GILLIES
You bastard, Clarkson.

CLARKSON
You've just been Intercepted.​

This is clearly a catch-phrase. He stuffs Gillies into the car, then turns back to Hammond and Steed.

CLARKSON
You're an idiot, James.

STEED
What? What did I do?

CLARKSON
Freshly-minted notes? Fowler knew it was a set-up the moment he saw them. (to St. Hammond) And you, what's this I hear about you driving your car off the end of Blackpool Pier?

ST. HAMMOND
In my defence, it wasn't my car. And I wasn't so much driving it as I was bound and gagged in the boot.​

Clarkson visibly sighs.

CLARKSON
It's so hard to find good help these days. You have to do every bloody thing yourself. Come on, Roxanne. Let's go to the pub.​

He offers his arm. ROXANNE grins and takes it. They make for the EXIT RAMP. Steed calls after them.

STEED
Are you just going to leave your car here? And the guns? And what about your suspect!?​

SMASH CUT TO titles.
 
Absolutely brilliant. You'v just been intercepted. But I think you should embed the opening straight after you put "cut to titles" just so that you get a true idea.


CeEMjAgDoYU
 
Definetly would watch this. I'm not old enough to have been around when these detective shows were common but since it's Top Gear I don't think I'd be missing out on anything.

And the line "You've been intercepted" is brilliant :D
 
2 - INT. - STIG HEADQUARTERS - DAY - 2

We see a BOARDROOM, where twelve important-looking men are gathered There are no windows in this room; what happens is too important for them to risk being seen. Standing before them is a MAN DRESSED ENTIRELY IN WHITE, known as THE STIG. He is giving a presentation of some kind. Behind him is a large screen, currently showing a slide of a MURDER VICTIM. This is STIG HQ - the Special Tactics and Investigations Garrison.

STIG
Gentlemen, I have called this extraordinary meeting for an extraordinary reason. Something extraordinary has happened.​

Having been a part of the intelligence community for most of his life, Stig has gone slightly mad.

STIG
(cont'd)
And the extraordinary thing is this: seventy-two hours ago, one of our sources was murdered. He was working on something code-named "Megiddo".

3 - INT. - THE PLAYBOY CLUB - DAY - 3

JASON CLARKSON sits in the swanky lounge of THE PLAYBOY CLUB surrounded by nearly a dozen GORGEOUS WOMEN. The laugh at soemthing he has just said, as Clarkson finishes his drink. Another GLAMOUROUS WOMAN approaches, with a drink on a tray. She offers it to him.

WOMAN
Mr. Clarkson. A black Russian, compliments of the house.

CLARKSON
A black Russian? Thank you for your hospitality, but I had a bad experience with a girl named Kaluha once.

WOMAN
This black Russian is made with five parts vodka, two parts Tia Maria.​

This sentence has exchange has meaning for Clarkson - it's obviously a code.

CLARKSON
Then who am I to say no? (to the women surrounding him) I hate to love you and leave you, girls, but duty calls.​

The girls are all disappointed. Clarkson excuses himself and makes for the exit.

4 - INT. - STIG HQ - DAY - 4

We return to STIG, still briefing THE BOARD.

STIG
Project Megiddo, we believe, is a next-generation chemical agent that could be used to devastate Britain. Had we known this sooner, we would not have waited until now.

5 - INT. - CAR ON STREET - DAY - 5

JAMES STEED sits in his WHITE INTERCEPTOR, holding a pair of BINOCULARS to his eyes. It's a STAKEOUT.

ANGLE ON: the building he is watching, an INNER-CITY TERRACE. There is a SHARP TAP on his window. Steed looks up to see a UNIFORMED POLICEMAN. He winds down the window.

POLICEMAN
Excuse me, sir, but you are parked illegally.

STEED
Illegally? Could you perhaps tell me where I could find a more suitable parking space?

POLICEMAN
Just around the corner, sir. On Chicago Street, just past the Gambon Building.​

This is clearly another code.

STEED
Thank you, officer.​

He puts the Interceptor into gear and drives off, abandoning the stakeout. He gets to the end of the street and turns off. Behind him, the terrace building EXPLODES.

6 - INT. - STIG HQ - DAY - 6

STIG continues his briefing.

STIG
Gentlemen, we believe Project Megiddo is based on an as-yet-undocumented chemical reaction. The briefing material before you outlines the science of it. But the executive summary is this: Project Megiddo is a polymer that, when mixed with water, will literally cause it to thicken like jelly.

7 - EXT. - SHOOTING RANGE - DAY - 7

We see the barrel of a MASSIVE HANDGUN. The camera shifts focus, and we see ROGER ST. HAMMOND is holding it. He fires, emptying the chamber. An ATTENDANT approches.

ATTENDANT
I'm afraid your aim is off, sir. By six degrees, if I am not mistaken. Might I suggest using tooth whitener?

ST. HAMMOND
I do not use tooth whitener.

ATTENDANT
I believe some on the trigger might stop your weapon pulling to the left.​

Again, this is a code. However, St. Hammond hasn't recognised it.

ST. HAMMOND
I do not use tooth whitener!​

The attendant sighs. It appears this is not the first time St. Hammond has missed a code.

ATTENDANT
You're wanted at headquarters, sir. It's urgent.

ST. HAMMOND
Then why didn't you say so!?

ATTENDANT
I did. That's why we speak in code. In case anybody is listening in when they should not be.

ST. HAMMOND
Oh. Right.​

Then, for no apparent reason, he KARATE CHOPS the attendant. The attendant falls to the ground, unconscious. St. Hammond leaves.

8 - INT. - STIG HQ - DAY - 8

STIG continues.

STIG
I cannot emphasise the seriousness of this situation enough, gentlemen. If Megiddo were released into the water supply, it would choke a city. If it were released into the Thames, it would block our ports. And if ingested by a person, it would strangle them.

9 - EXT. - LONDON STREETS - DAY - 9

JASON CLARKSON drives his BLUE INTERCEPTOR through the city streets. The screen is split in two, to show JOHN STEED driving his WHITE INTERCEPTOR through London. Finally, the screen splits again to show ROGER ST. HAMMOND driving in his RED INTERCEPTOR. This split screen effect is a regular occurance, shown every time THE INTERCEPTORS drive to a mission briefing.

10 - INT. - STIG HQ - DAY - 10

STIG is wrapping his briefing up.

STIG
There is only one man for this job - three of them. The finest men working for the Special Tactics and Investigations Garrison.​

We hear the DING of an ELEVATOR as it arrives.

STIG
(cont'd)
Gentlemen, this job requires The Interceptors.​

The elevator doors OPEN, and out step CLARKSON, STEED and ST. HAMMOND
 
Gillies' face falls, and we find out why: A DEEP ROAR echoes through the garage as another TWO INTERCEPTORS - one RED, one BLUE - come tearing in. The both skid to identical halts, pinning Gillies and Clarkson in. ROGER ST. HAMMOND and JAMES STEED climb out, their GUNS pointed squarely at Gillies.

The only thing that could have made that better would be St. Hammond slamming into Steed's car to stop his own and smashing his door off Steed's car.

I thought it was funny, and it really captured the feel of a 70's detective show. But i wouldn't watch it.

Why? You've given two good reasons to watch it there.
 
The only thing that could have made that better would be St. Hammond slamming into Steed's car to stop his own and smashing his door off Steed's car.
I didn't want to do that too soon. I figured they would crash into one another later on. I wanted to give them a dramatic entrance, and then have an argument about how incompetent they both were. I thought that having them crash into one another would undo all that.
 
Great write ups interludes, any more in mind. I could see those actually being an episode.
 
Well it also has to do with generation gap and personal tastes. I'm a 90's child and I'm not so interested in anything 70's.

I was also a 90's child. Was 3 in 1990. I love 70's tv shows. My favourite being Starsky and Hutch.
 
I was also a 90's child. Was 3 in 1990. I love 70's tv shows. My favourite being Starsky and Hutch.

I just never grew an interest in 70's shows, that's all. I don't think I ever watched any 70's tv shows. Or movies for that matter. :indiff:
 
I just never grew an interest in 70's shows, that's all. I don't think I ever watched any 70's tv shows. Or movies for that matter. :indiff:

A lot of great movies from the 70's. If you have a particular favourite genre, I can recommend some for you. Not trying to force feed you or anything. If you don't want recommendations, that's fine.
 
Yeah I did, I thought gosh even The Interceptors has continuity errors :lol: Maybe they are time traveling crime fighters because I pretty sure that small plane isn't from the 70's either!

That's a Beech King Air...and that was introduced in the '60s. Unless it's a "Super," which was introduced in the '70s.

Still, you'd find that sort of plane being stopped by an INterceptor. perhaps not with that paint scheme, though. XD
 
Great write ups interludes, any more in mind. I could see those actually being an episode.
I'm not sure if this is the place for it. I don't really have anything in mind, but if people want to continue with it, they're welcome to. Just follow the format I posted:

1) Every time you cut to a new location, you start a new scene. Moving from an office to a hallway counts as a new location. This is so that the film crew remain aware of the physical geography of the scene - and the locations they will need - at all times. If a character leaves his office, goes down a hall and enters another office, that's three scenes, even if there is no dialogue or significant actions (other than walking) in any of them.

2) When you start a new scene, center the text and underline it. The numbers at the start and the end are the numbers of the scene (so the next one should be 11). "INT." means "interior"; "EXT." means exterior. Then you add the location of the scene (like PARKING GARAGE), and whether the scene is set during the day or at night.

3) Every time a character is first mentioned in a scene, their name appears IN CAPITALS and in lower case for every subsequent mention in that scene. Likewise, significant actions or objects that you want to draw attention to also appear IN CAPITALS. All descriptions of the scene should be aligned to the left.

4) "ANGLE ON" should be used when you want the camera to focus on a particular object or action - like when I had the angle on Clarkson's feet when he stepped out of the car. I wanted to go for the big reveal, so I built it up by angling on Clarkson's feet (like Tarantino did over the opening credits of Jackie Brown - all you see is Pam Grier's feet and calves for five minutes).

5) Dialogue should appear with the speaker's name IN CAPTIALS, followed by any actions underneath in brackets. However, don't put too much stock in this - actors hate it when writers try to direct the entire performance too much. Then put in the dialogue.

6) There are a few directions you should know: "(cont'd)" means "continued", and comes when dialogue is broken up by actions to show that the dialogue is continuous. If dialogue is broken up by actions or any significant amount of time passes between speaking parts, a (cont'd) is not necessary.

7) "(O.S.)" means "off-stage" or "off-screen" and gets used when a character is present in the scene, but is not in the shot at the time of speaking. If you want someone to start speaking, then cut to another character and back to the speaker (ie, start with Clarkson, move to St. Hammond, then back to Clarkson), you should start the dialogue as normal, then break it up with an ANGLE ON St. Hammond, and continue Clarkson's speaking part (O.S.) before a second ANGLE ON Clarkson, and resume dialogue as normal.

8) "(V.O.)" means "voice over". It gets used for narration or for characters expressing thoughts to themselves. Nobody in the scene actually hears the voice over, unless you want to break the fourth wall.

And that's your crash course in screenwriting. Who knows, we could come up with a ninety-page script (one page is roughly equal to one minute on-screen), send it off to Top Gear and get it produced in the off-season; Hammond and May make a lot of extra videos - like the one where they looked at what life would be like after a nuclear apocalypse - branded as official content. You never know; they could produce "The Interceptors" if they like the script ...
 
So we have our script format. Just about everyone would help write the script. We have a petition. We know who Top Gear are. We also have an opening. Now all we need is a film crew, useless special effects, three Interceptors, a runway, and office building, London, some BBC archive footage of America and Monaco, some actors (we can all do that) and a sign that says S.T.I.G. and we can make it. Oh, and a slot on BBC2... or dave but BBC2 is better.
 
That's a Beech King Air...and that was introduced in the '60s. Unless it's a "Super," which was introduced in the '70s.

Still, you'd find that sort of plane being stopped by an INterceptor. perhaps not with that paint scheme, though. XD

Oh right, but yeah the ultra modern paint scheme threw me off. What you need is some Gold / Beige and Scarlet Red cheatlines and then it will be perfect! I love the way they had a brief shot of a Pan Am 747 landing and then cut to the tiny turbo prop like it was the same thing :lol:

You can't have the stig talking...he has to communicate via hand gestures. :D

I could see him having a handlebar moustache sticking out the bottom of his visor. :sly: Its always typical to have a guy that never speaks in a 70's drama anyway!

Robin.
 
Last edited:
Back