Above: “Escape from Tomorrow” Scripts. From bottom to top: First Draft, Final, and Revised Final.   There was a period of my life—starting from the time I learned to write and lasting until my mid-twenties—when I used to create my own stories. One legacy (to coin a title) from that experience was the belief that there is, really, only one path for a particular tale to follow—even though there appear to be many different directions it can take. Finding the right path, however, can take time. Years, in fact.   I can remember working on a number of pieces that were failing to encapsulate the emotions and ideas I wanted them to, but I’d draw them to some sort of conclusion nonetheless—and then set them aside and hate myself for not being able to shape them into what I intended them to be. Some time afterwards—usually while I was on a long train journey, gazing out of the window—there would be a blaze of light and I’d realise what I needed to do to fix them, to make them right!   This fascination with the way in which a work of fiction evolves, and can pass through many stages on its way to completion, is something that I’ve never lost, and it underwent a major reawakening on the day I bought my first, original “Planet of the Apes” TV script.   I was, of course, expecting it to be different from the finished episode it represented. Knowing how actors often change their lines when shooting, either because the phrasing on the page feels unnatural when spoken, or because what they are being asked to do or say doesn’t fit the psychology they have constructed for the character they are playing, I was looking forward to seeing the alterations that had been made, and the insights it would provide into the actors’ contributions. I was also aware that scenes shot for a particular story are often eliminated from an episode at the editing stage, when the running time of the assembled raw footage is found to exceed the time slot available—so I was looking for some “missing moments”, too.     What I hadn’t anticipated were the revelations that lay in the coded, formal structuring of the document and the rainbow coloured hues of the consituent pages: evidence that spoke of earlier versions of not just individual scenes, but the overall story and, most exciting of all, that exposed a complex history of creation that lay behind the shaping of the tale, and testified to the struggle the writers had endured to find the elusive, ideal path that each story should take.     There were pages with “A” and “B” suffixes, indicating how scenes had been expanded beyond their original length. Conversely, I would find a single page that now encapsulated several numbers, demonstrating where a moment in the story had contracted. Most intriguing of all were scene numbers that had no descriptive content whatsoever, and which bore the terse description “OUT”, telling me where an aspect of the story had been eliminated altogether!     I immediately wanted to know what had been taken out, of course—and why—and that desire was met with the sombre realisation that I might never know, because in order to answer these questions I would need to find the earlier versions of the story.   Wonderously however, over the years, other versions of scripts have surfaced, and I have attempted to obtain as many as I could, in order to reconstruct this key aspect of the history of the show. In the process of examining the various drafts, I have found that there is much more to be learned from studying the development of the “Planet of the Apes” TV episodes than I had anticipated.     There are, of course, the innumerable changes to dialogue that I expected to find. It’s obvious that some early drafts of stories were written in haste, simply to get the narrative skteched out, and consequently the lines given to the characters are sometimes poorly phrased or purely functional. Then, as the process of rewriting progresses, we see the wording of the scripts becoming more complex, more naturalistic—and more individualistic. The psychologies of the characters acquire more definition, and the focus of a story is sharpened. Yet there are major structural reworkings, also. There are sometimes occasions where one character’s dialogue, or even their role in a story, is switched to someone else.   One such example is “The Cure”. In the first draft it is Burke (or “Kovak” as he is at this stage)—not Virdon—who shares a bond with Amy, and the relationship between the astronaut and the young girl is very different to the one we finally saw on-screen.   In the earliest incarnation of the story, Amy is only twelve years old. In meeting her, Burke finds himself remembering his own youth, and seeing the young girl’s potential, and recognising her future in the simian-ruled society is bleak, he develops intense paternalistic feelings towards her.   There is an awkwardness and implausibility at the heart of the relationship, however. Burke’s desire to settle in Trion, and oversee Amy’s upbringing seems pointless, given that she already has a loving father in the form of Talbert (As an aside, it’s interesting to note that the humans in this story have names a twentieth-century audience would recognise: Amy’s father is “Ken Talbert”).   Virdon and Amy part for the second time as “The Cure” draws to a close. In the first draft of the story, Amy is a twelve year old child of whom Kovak/Burke has become deeply protective.   In spite of this, the surrogate father-daughter relationship between the village girl and the man from the twentieth century is retained at the next stage of rewriting, with the only change being that the connection previously assigned to Burke is now passed to Virdon, who explains in the later draft that Amy reminds him of his daugther (Yes, his daughter. The one he doesn’t have in the actual series…).   It is during the third round of restructuring that the story settles into the form we see in the finished episode. Amy becomes an adult, and her relationship with the astronaut becomes romantic in nature. While I think there are still problems with the way this turned out (For one thing, we keep getting told that it is Burke who, “…has a way with females,” yet it is Virdon, the family man, who has the highest on-screen success rate…) making Amy an adult resolved a major failing of the first draft: at the end of the initial telling of the tale, when the fugitives set off from Trion for the final time, we see them leave behind an orphaned twelve year old whose fate is now even more uncertain than it was originally. Not only is she without her father and mother, but there are not even any potential guardians to be seen amongst the villagers. This is deeply unsatisfying. At least, in the final version of the story, with Amy now mature(ish) and independant, we could believe she would be able, ultimately, to come to terms with the loss of her father and build some kind of life for herself.   Another story that originally had a disappointing denoument, but which eventually evolved into one of the series’ most effective entries is “The Legacy”. Here, too, the inital resolution of the story gave us a Virdon, Burke, and Galen who abandoned their companions in adventure to an uncertain fate. In not just the first draft, but many later ones, our final, depressing vision of Arn and Kraik is of them standing in the ruins of the human city—hardly any better off than they had been when we first met them and, implicitly, vulnerable to rearrest and retribution from the apes.   Arn and Kraik begin their new, better life at the conclusion of “The Legacy”—an opportunity they weren’t afforded until late in the story’s development.   Watching the finished episode, in which we see the wretched existence of a thirty-first century woman without hope and a “Child of the Streets” transformed by their encounter with Virdon, and ultimately beginning new lives on Derlin’s farm—the real “legacy” of the title—it’s difficult to understand how anyone could have thought the first finale worked on any level—and that brings me back to my own experience of storytelling, where the ideal ending is not always obvious or easy to find. As a study of the “Apes” scripts proves, in fact, while the process of ceaselessly reviewing and refining the stories unquestionably improves them, there are important and effective aspects of the early versions of the tales that are lost.   What we see in the endless procession of adjustments, however—even in those stories which change little from first draft to last (“Escape from Tomorrow”, for instance)—is evidence of a high level of care being invested in each scripts’ creation.   The code numbers allocated to each story have something to tell us, too. Those scripts with four-figure numbers that begin with a “6” appear to have been written for the 1973 incarnation of the show credited to Rod Serling, and reveal not only that this concept of the series survived well into 1974, but that many of the stories we know had been devised—sometimes in very different form, it must be said—for this original format.     In June, however—with the arrival of “Escape from Tomorrow”—the numbers acquire a “B-5” prefix. Does this mark a change in the show’s format, or simply reflect a shift in status, indicating that the show had passed beyond the development stage and was now an active production?     In any event, the stories devised for the earlier incarnation of the show retain their four-figure “6” prefix throughout the later development stage, and even the numbers on the scripts bearing the “B-5” classifiction do not relate to those that appear on the end credits of the completed episodes. The various drafts of “Escape from Tomorrow”, for example, bear the number “B-540”—yet the production code that appears on the televised version is “B-503”…!   Listing the production codes consecutively also offers the tantalising suggestion that there are a large number of “missing” adventures in existence:   6529:   “A Fallen God” 6563:   “Hostage” 6566:   “The Liberator” (Also known as “The Conqueror”) 6567:   “The Legacy” (Also known as “Second Family”) 6568:   “The Cure” 6569:   “The Gladiators” 6570:   “The Good Seeds” 6572:   “The Deception”       B-540:   “Escape from Tomorrow” B-541:   “The Trap” B-542:   “Up Above the World So High” B-543:   “Tomorrow’s Tide” B-545:   “The Surgeon” B-550:   “The Tyrant” B-552:   “The Interrogation” B-555:   “The Horse Race” (Also known as “The Race”)         Maths was never my strong suit, but using the age-old principles of subtraction reveals that there are sixty-four titles absent from the four-figure “6” series, and eight missing from the “B-5” list. While it’s likely that many of these stories could have been rejected after the “Outline” stage that writers submit to studios as suggestions, and never became full scripts, it was considered Good Practice in Television during the 1960s and 1970s to have a full compliment of episodes at an advanced stage of development by mid-season, so it’s a fair bet that some of these “missing” tales were well on their way to our screens at the time the series was cancelled.   Which means, of course, that they may be out there, somewhere…   Another insight the list provides is some hint of when episodes were filmed. Although the information I have at hand is far from complete, it’s noticable that after ticking along for a while, some stories enjoy a sudden increase in the level of attention they are receiving—perhaps a last-ditch effort as they are readied for production—and then vanish from the “diary” altogether—presumably because they have been—or are being—shot.   Consequently, we can see that “The Good Seeds” must have gone before the cameras some time after June 19th, with “The Gladiators” hitting the floor in early or mid July, and “Escape From Tomorrow” being filmed towards the end of that month. The dates on the final rewrites for “Up Above the World So High” even tell us that the series would have wrapped production in mid- to late November.   In search of further insights, I have added key events in “Apes” history to the list, and this has enabled me to say with some certainty that the footage being shot on Roddy McDowall’s forty-sixth birthday—and described in some detail in the December 7th edition of TV Guide—must have been the opening scenes of “The Surgeon”.   Including the broadcast history and cancellation announcements as well offer the sobering revelation that, by the time the series had arrived in England and was enjoying phenomenal popularity, its future was already looking questionable—and tells us that it ended the U.S. TV season two episodes short.   The announcements in TV Guide tell us that the final decision to cancel the series wasn’t made until late October or mid-November—around the time the script for “Up Above the World So High” was being readied for shooting. It’s logical to assume that, because of the series’ high cost of production, work on the show was halted as soon as CBS had decided against ordering a full season.   We can see that CBS struggled to fill Apes’ Friday evening timeslot as the season drew to a close. A repeat of “Escape From Tomorrow” was used to fill out the schedule between Christmas and New Year. For me, the lack of material the Network had to hand adds weight to the idea that at least two more episodes should have been available for airing—and that their scripts would have been ready at the time the axe fell.   Before abandoning you to the list itself, I’d like to express my sincere gratitude to Hunter Goatley and Greg Plonowski for the unique and excepional “Planet of the Apes” PDF script resource they maintain at their website:   Hunter’s Planet of the Apes Archive   Without their generosity of spirit, and their willingness to invest an enormous amount of time and care in establishing their collection, I would never had gained access to the early Rod Serling scripts, the FINAL drafts of “The Cure”, “The Legacy”, “The Liberator”, “The Surgeon”, and “The Interrogation”, or the REVISED FINAL of “The Gladiators”, and the 2nd. REVISED FINAL of “Tomorrow’s Tide”. Consequently, I would never have progressed as far as I have towards accomplishing my goal, and this history would be inadequately brief.     Looking at the amount of information I have assembled here prompts the thought that it all seems more than a little bewildering, but ignoring the detail, and just scanning this page casually, I find myself impressed by the data’s graphic illustration of what it must have been like to have worked on the show: the pace at which everyone was working, the pressure they must have been under, and the overwhelming quantity of material being created and honed. This was something I, for one, had never recognised until now.   While I had time, in the days when I dreamed of being a writer, to sit on trains and let stories simmer in my subconscious for as long as it took for them to be ready to serve, if you’re a professional writer, producing episodic television, you don’t have years. You may only have hours. And it still has to be right.   In that vein, I am also deeply impressed to see how much attention was lavished upon the script for the final episode to be shot: “Up Above the World So High”. The significant, last-minute reshaping the tale underwent over those final few days—changing and improving the story measurably—demonstrates that, even after the series had been served its cancellation notice, the writers and story editors were still working hard, striving to tell the best stories they could, in the best possible way.   For me, that care and commitment wasn’t wasted.   All these years later, the time and effort Art Wallace, Howard Dimsdale, Joe Ruby and Ken Spears, and their team of writers invested in those stories continues to make the “Planet of the Apes” TV show something worth spending time with.   Mark. July 1st. 2010. Above: “Up Above the World So High” Scripts. From bottom to top: First Draft, Final, and Revised Final.   Date Episode Title Code No. Activity   Episode One 6524      •  Rod Serling’s concept. 02  (Fri) A Fallen God 6529      •  “Probe Six.” is manned by “Allan J. Virdon” and “Kovak”. The setting for the series is what is left of Arizona—not California. 12  (Sat) Ron Harper's Birthday 06  (Wed) Booth Colman's Birthday 04  (Thu) The Deception 6572 Outline mimeo. •  “Pete Burke” named as “Stan Kovak”. 05  (Fri) Hostage 6563 Final mimeo. •  “Pete Burke” named as “Stan Kovak” •  “Urko” named as “Ursus”. 13  (Sat) Herbert Hirschman's Birthday 23  (Thu) The Cure 6568 Final mimeo. •  Gray cover •  Green pages. •  “Pete Burke” named as “Stan Kovak” •  “Urko” named as “Ursus”. 01  (Sat) Ron Harper signs on as Virdon 13  (Thu) The Good Seeds 6570 Revised Final mimeo. •  Olive cover •  Blue pages. •  “Pete Burke” named as “Stan Kovak” •  “Urko” named as “Ursus”. 19  (Wed) The Good Seeds 6570 Revisions mimeo. •  Pink pages. Nos.: 3, 4, 6, 7, 10, 12, 16, 17, 18, 18-A, 23, 28, 28-A, 31-33, 38-40, 45-52, 54, 57, 57-A. 20  (Thu) The Gladiators 6569 Revised Final mimeo. •  “Pete Burke” named as “Stan Kovak” •  “Urko” named as “Urkus”. 25  (Tue) Escape from Tomorrow B-540 Final mimeo. •  Red cover •  Pale Green pages. •  “Pete Burke” named as “Ed Rowak” •  “Urko” named as “Urko”. 02  (Tue) The Gladiators 6569 2nd. Revised Final mimeo. •  Orange cover •  Pink pages. •  “Pete Burke” named as “Pete Burke”. 03  (Wed) Escape from Tomorrow B-540 Revised Final mimeo. •  Peach cover •  Blue pages. •  Addendum sheet stating “Rowak”/“Kovak” to be changed to “Pete Burke” •  “Urso”/“Ursus” to be changed to “Urko”.   The Gladiators 6569 Revisions mimeo. •  Green pages. Includes name change notification: “Rowak”/“Kovak” to be changed to “Pete Burke” •  “Urso”/“Ursus” to be changed to “Urko”, pronunciation guide, plus new page nos.: 18, 18-A, 36, 37. 08  (Mon) The Legacy 6567 Final mimeo. •  Blue cover •  Green pages.    The Gladiators B-502 Filming: Day 1/7. •  Stage 10. 09  (Tue) The Gladiators B-502 Filming: Day 2/7. •  Century Ranch. 10  (Wed) The Cure 6568 Revised Final mimeo. •  Pale Blue cover •  Blue pages.    The Gladiators B-502 Filming: Day 3/7. •  Human village. 11  (Thu) Escape from Tomorrow B-540 Revisions mimeo. •  Pink pages. Nos.: 32, 42, 47.    The Gladiators B-502 Filming: Day 4/7. •  Arena. 12  (Fri) The Gladiators B-502 Filming: Day 5/7. •  Farmhouse. 15  (Mon) Escape from Tomorrow B-540 Revisions mimeo. •  Yellow pages. No.: 22.    The Gladiators B-502 Filming: Day 6/7. •  Stages 14 and 10. 16  (Tue) The Gladiators B-502 Filming: Day 7/7. •  Stage 10. 18  (Thu) The Legacy 6567 Revised Final mimeo. •  White cover •  Blue pages. 19  (Fri) CBS issues a “New Season Portrait Gallery” in which Mark Lenard’s character is still described as Ursus. 22  (Mon) Escape from Tomorrow B-540 Revisions mimeo. •  Pink pages. Nos.: 25, 26. 23  (Tue) Stan Hough's Birthday 31  (Wed) The Trap B-541 Final mimeo. •  Cream cover •  Light Green pages. 01  (Thu) The Liberator 6566 Final mimeo. •  Blue cover •  Green pages. 02  (Fri) The Trap B-541 Revisions mimeo. •  Blue pages. Nos.: 1, 2, 4, 4-A, 7, 8, 15-22, 26, 28, 30-32, 34, 36, 37, 42, 54-57. 05  (Mon) The Trap B-541 Revisions mimeo. •  Pink pages. Nos.: 3, 3-A. 07  (Wed) The Cure 6568 Revisions mimeo. •  Pink pages. New cast list, plus page nos.: 13, 23, 25-28, 32, 38, 39, 50-52. 09  (Fri) The Trap B-541 Revisions mimeo. •  Mid Green pages. Nos.: 23-25.   The Cure 6568 Revisions mimeo. •  Mid Green pages. Nos.: 2, 3, 4, 8, 10, 14, 15-A, 31, 40, 49, 54, 55. 14  (Wed) Tomorrow’s Tide B-543 Final mimeo. •  Burgundy Cover •  Pale Green pages.    The Surgeon B-545 Final mimeo. •  Green cover •  Green pages.    The Cure 6568 Revisions mimeo. •  Yellow pages. Nos.: 5, 5-A, 5-B, 6, 7, 9, 11, 12, 17, 18, 21, 22, 24, 29, 30, 34, 37, 42-45, 53. 19  (Mon) The Cure 6568 Revisions mimeo. •  Yellow pages. Nos.: 1, 2-A, 15. 21  (Wed) The Liberator 6566 Revised Final mimeo. •  Yellow cover •  Blue pages. 23  (Fri) The Liberator 6566 2nd. Revised Final mimeo. •  Ochre cover •  Pink pages.    The Liberator 6566 Revisions mimeo. •  Dark Green pages. Name change notification: “Trung” to “Miro”, plus page nos.: 19-21, 25, 26, 32, 33, 37-39. 26  (Mon) The Liberator 6566 Revisions mimeo. •  Pale Yellow pages. Nos.: 1-4, 6, 7, 10, 9-11, 14, 17, 18, 22, 23, 28, 29, 31, 46, 48, 49, 53, 55-59, 60. 28  (Wed) Tomorrow’s Tide B-543 Revised Final mimeo. •  Yellow cover •  Pale Blue pages.    The Deception 6572 Final mimeo. •  Cream cover •  Green pages. 04  (Wed) Tomorrow’s Tide B-543 2nd. Revised Final mimeo.   05  (Thu) Tomorrow’s Tide B-543 Revisions mimeo. Page nos.: 2, 6, 35, 37. 09  (Mon) The Deception 6572 Revised Final mimeo. •  Dark Blue cover •  Pale Blue pages. 11  (Wed) The Surgeon B-545 Revised final mimeo. •  Bright Orange cover •  Pale Blue pages. 13  (Fri) The Surgeon B-545 Revisions mimeo. •  Pink pages. Nos.: 1-6, 11-13, 16, 24-26, 29, 33, 34, 36, 46, 48, 50, 56-58, 60-62.    Escape from Tomorrow B-503 Series PREMIERE: CBS, 20:00 PM 16  (Mon) The Race B-555 2nd. Draft photostat. •  No cover. •  White pages.    The Surgeon B-545 Revisions mimeo. •  Pale Green pages. Nos.: 40, 41, 41-A. 17  (Tue) Roddy McDowall's Forty-Sixth Birthday 20  (Fri) The Gladiators B-502 CBS, 20:00 PM 27  (Fri) The Horse Race B-555 Final mimeo. •  Yellow cover •  Pale Green pages.   The Trap B-505 CBS, 20:00 PM 28  (Sat) TV Guide reports, “Ratings upsets abounded…NBC was a surprise over-all winner…Sanford and Son and the new Chico and the Man topping CBS’s Planet of the Apes.” 01  (Tue) The Interrogation B-552 Final mimeo.      The Horse Race B-555 Revised Final mimeo. •  Green cover •  Blue pages. 03  (Thu) The Horse Race B-555 Revisions mimeo. •  Pink pages. Nos.: 5-6A; 9; 11; 13; 14; 16-23; 25; 28,29; 31-39; 42-44; 51-53. 04  (Fri) Up Above the World So High B-542 First draft photostat? •  No cover. •  White pages.   The Good Seeds B-501 CBS, 20:00 PM 07  (Mon) Up Above the World So High B-542 Final mimeo. •  Orange cover •  Green pages. 09  (Wed) The Interrogation B-552 Revised Final mimeo. •  Khaki cover. •  Green pages. 11  (Fri) The Interrogation B-552 Revisions. •  Pink pages. New cast and set list, plus nos.: 6, 13-15, 26, 27, 48, 49.    The Legacy B-504 CBS, 20:00 PM 13  (Sun) Escape from Tomorrow B-503 U.K. DEBUT: ITV, 19:55 PM 14  (Mon) The Tyrant B-550 Revised Final mimeo. •  Cream cover •  Blue pages. 15  (Tue) Mark Lenard's Birthday 18  (Fri) Tomorrow’s Tide B-508 CBS, 20:00 PM 20  (Sun) The Gladiators B-502 U.K. AIRING: ITV, 19:25 PM 23  (Wed) The Tyrant B-550 2nd. Revised Final mimeo. •  Red cover •  Pink pages. 25  (Fri) The Surgeon B-509 CBS, 20:00 PM 26  (Sat) TV Guide reveals, “Planet is as good as gone by January.” 27  (Sun) The Trap B-505 U.K. AIRING: ITV, 19:25 PM 28  (Mon) The Tyrant B-513 Filming: Day 1/7. •  Stage 14. 29  (Tue) The Tyrant B-513 Filming: Day 2/7. •  Century Ranch. 30  (Wed) The Tyrant B-513 Filming: Day 3/7. •  Century Ranch. 31  (Thu) Up Above the World So High B-542 Revised Final mimeo. •  Pale Blue cover •  Blue pages.    The Tyrant B-513 Filming: Day 4/7. •  Century Ranch. 01  (Fri) Up Above the World So High B-542 Revisions mimeo. •  Pink pages. Nos.: 57-60, 63-66.    The Tyrant B-513 Filming: Day 5/7. •  Stage 10.   The Deception B-510 CBS, 20:00 PM 03  (Sun) The Good Seeds B-501 U.K. AIRING: ITV, 19:25 PM 04  (Mon) Up Above the World So High B-542 Revisions mimeo. •  Green pages. New cast and set list, plus nos.: 3, 5, 9, 12-14, 20, 22, 23, 29-30, 32, 33, 40, 47, 45, 54-A, 56, 61, 62.    The Tyrant B-513 Filming: Day 6/7. •  Stage 10. 05  (Tue) Up Above the World So High B-542 Revisions mimeo. •  Yellow pages. Nos.: 6-8 (One page replacing three), 19, 15-18 (One page replacing four), 26-27 (One page replacing two), 55.    The Tyrant B-513 Filming: Day 7/7. •  Stage 10. 08  (Fri) The Horse Race B-511 CBS, 20:00 PM 10  (Sun) The Legacy B-502 U.K. AIRING: ITV, 19:25 PM 15  (Fri) The Interrogation B-512 CBS, 20:00 PM 16  (Sat) TV Guide tells us, “The networks have been wrestling with…what shows to scuttle in midseason. CBS…Planet of the Apes…reported iffy.” 17  (Sun) Tomorrow’s Tide B-508 U.K. AIRING: ITV, 19:25 PM 22  (Fri) The Tyrant B-513 CBS, 20:00 PM 23  (Sat) TV Guide reveals, “It appeared CBS was having difficulty deciding on a suitable subsitutute for its droopy Planet of the Apes.” 24  (Sun) The Surgeon B-509 U.K. AIRING: ITV, 19:25 PM 29  (Fri) The Cure B-506 CBS, 20:00 PM 30  (Sat) TV Guide announces, “The last loose end on the midseason network schedules has been tied up by CBS. It’s sinking Planet of the Apes will be replaced by a 1974 variation on Charlie Chan…Planet goes off Dec. 27.” 01  (Sun) The Deception B-510 U.K. AIRING: ITV, 19:25 PM 06  (Fri) James Naughton's Birthday 08  (Sun) The Horse Race B-511 U.K. AIRING: ITV, 19:25 PM 13  (Fri) The Liberator B-507 CBS, 20:00 PM 15  (Sun) The Interrogation B-512 U.K. AIRING: ITV, 19:25 PM 20  (Fri) Up Above the World So High B-514 CBS, 20:00 PM 22  (Sun) The Tyrant B-513 U.K. AIRING: ITV, 19:25 PM 27  (Fri) Escape from Tomorrow B-503 CBS, 20:00 PM. Rerun. 05  (Sun) The Cure B-506 U.K. AIRING: ITV, 19:25 PM 12  (Sun) The Liberator B-507 U.K. AIRING: ITV, 19:25 PM 19  (Sun) Up Above the World So High B-514 U.K. AIRING: ITV, 19:25 PM