https://nwhyte.livejournal.com/3132122.html

Robert A. Heinlein published a novella-length adaptation of his own screenplay in 1950, now available along with some notes from Heinlein on how the film was shot. There are a couple of striking differences: the stuck antenna and spacewalk scene are not in the book; the radio operator, Emmanuel Traub, is coded as Jewish and regarded with (unjustified) suspicion as a potential foreign saboteur (in the film he is the salt-of-the-earth Joe Sweeney); the crew land in a place on the Moon where they cannot communicate properly with Earth because it is below the mountains on the horizon; and most remarkably we are left not knowing if the crew make it home safely. Similarities include the good old private sector overcoming government inertia and interference, and the subplot about the excess weight being equivalent to an astronaut (as seen also in "The Cold Equations" and the Blake's 7 story Orbit). There is a startling moment of misogyny:

His [Corley's] secretary’s voice sounded in the room. “Your wife wants to call long distance, Doctor. I’m stalling her. Are you in?”
“Put her on,” he said wearily. Mrs. Corley’s words could not be heard, but her angry tones came through. Corley answered, “No, dear . . . That’s right, dear. I’m sorry but that’s how it is . . . no, I don’t know when the lines will be free; we’re holding them for calls placed to the east coast . . . no, you can’t have the car; I’m using it. I—” He looked surprised and replaced the instrument. “She hung up on me.”
“See what I mean?” said Barnes.
“Jim, you’re a fool,” Bowles answered.
“No, I’m a bachelor. Why? Because I can’t stand the favorite sport of all women.”
“Which is?”
“Trying to geld stallions. Let’s get on with the job.”

It's typical enough Heinlein, not especially original or vivid but clearly substantial enough for a memorable film to be based on it. ( )