_ACT ONE_
FADE IN
EXT. TAGATAYA - DAY - TO ESTABLISH
EXT. TAGATAYA HOTEL COMPLEX - DAY
aged by time and the muggy heat of the tropics. Comings and goings of
islanders and world travellers of all persuasion. A Slavic-looking Waiter
moves out of the main building carrying a cloth-covered tray. We go with
him as he heads for a grouping of small clustered cottages.
AT THE CLUSTER OF COTTAGES
The waiter moves on.
INT. COTTAGE - DAY
Rattan, mosquito netting over a bed. A room adjoins. Alexi Suslov, a
Russian, late forties, moves to answer a knock on the door. Despite the
tropic's enforced "wilted look" there is an air of the military about him.
Using a rather ornate cane, he walks with a slight limp.
At the knock, Lucia Rety, an attractive, well-dressed, thirty-year-old
French woman, has appeared in the open door of the adjoining room.
There is a vague suggestion of tenseness. Lucia is a capable woman, yet
she relies on Alexi for both guidance and support. And he is every ready
to supply both.
ALEXI
(polished Russian accent)
Who is it?
WAITER (v.o.)
Waiter, sir.
The vague tenseness passes. Alexi open the door and the Waiter enters.
ALEXI
On the table there.
At Alexi's gesture, Lucia comes into the room. Relying on his cane, he steps
to the table as:
ALEXI
I had asked for a fan for the lady's room.
WAITER
It is coming, sir.
ALEXI
This heat is oppressive.
WAITER
Yes, sir.
FEATURE THE WAITER
still nothing untoward as he removes the cloth exposing a platter of cheeses
and fruits, two glasses and a bottle of red wine. Setting the tray down he
turns to face the others with a gun (hidden beneath the tray).
WAITER
(Russian accent, now noticeable)
It will not be a bother to either of you much longer.
Lucia darts a frightened look to Alexi who seems suddenly drained; resigned
to an obvious fate, as:
ALEXI
So...it has finally ended.
LUCIA
Alexi!!?
ALEXI
Don't you welcome it, too?
LUCIA
Alexi, please...!
ALEXI
May we at least have time to pray?
After a beat, the Waiter nods. As Lucia drops to her knees before the
Waiter, Alexi, who has been using his cane to steady himself, in a single
motion raises it and aims it at the man's chest, a hidden trigger is touched
and a seven-inch blade appears at the end of the cane. It is buried in the
Waiter's hear. Lucia averts her eyes as the man drops the gun to clutch is
chest and crumple to the floor. Now it it Lucia who is drained, genuinely so.
Averting her look from the dead waiter, she half-whispers:
LUCIA
They seem to be everywhere.
ALEXI
They _are_ everywhere.
EXT. TAGATAYA WHARF - DAY
Crates, barrels, etc. are piled here and there along the length of the wharf. A
crude tent affair offers some shade to some of the crates. Opposite, at the
end of the pier, tied close, sits Cutter's Goose.
Sawing back and forth on a lever-like handle, Jake is pumping the last of one
of several large drums of gasoline into the Goose's wing tank. When the
barrel is emptied, the pumping device is removed and inserted into the final
barrel, and the process continued. It has been a long, tiring job and Jake is
sweating profusely. Jack lies in the nearby shade of the tent affair, half-
dozing. Corky sits in the cockpit (with the windows open) wearing
earphones and repeating MOS what his is listening to, to Jake. Over all this:
JAKE'S VOICE
When you run the kind of operation Corky and I do, you have the
luxury of ignoring things like bookkeeping . I mean you do a job,
you get paid for it. Try as you might to put a little away, you spend
what you get on food, a roof over your head, a now and then beer, a
partial payment on longstanding debts - and gasoline to go looking
for the next job.
CORKY
(intently listening to the radio)
I sure wish I could remember what it was I had to tell you, Jake.
All's I remember is there's a good part and a bad part.
JAKE
It'll come to you, Corky.
(beat)
What about the ball scores?
CORKY
The station keeps fadin' in and out. But I think Chicago lost.
JAKE
Which Chicago?
CORKY
The one in Illinois.
JAKE
The Cubs or the White Sox?!
CORKY
That's it! The sox. But they...
(beat, remembering; brightening)
Jake! I just remembered what I had to tell you!
JAKE
Wait a minute...Was it the White Sox who lost?
CORKY
(reluctant)
They wasn't white. I think they was red.
JAKE
The Red Sox?! You mean Boston!? The Boston Red Sox?!
_Lost_?!
CORKY
Jake, please! I gotta tell you before I forget again. It's about Jack's
eye!
Jack reacts.
JAKE
(suddenly interested)
What about it?
CORKY
It's here on Tagataya. A Turkish sailor over at Hapa-Hoali Annie's
has it. That's the good part.
Jack has immediately started away.
JAKE
(overlapping)
Jack, wait.
He does, as:
JAKE
How many beers did you have, Corky?
CORKY
Just one.
JAKE JACK
You're sure... (growls)
CORKY
(to both)
Honest, I only had one. I saw it with my own eyes...honest!
JAKE
(suspicious)
What's the bad part?
CORKY
He wants two hundred dollars for it
JAKE
That's not so bad.
CORKY
But we ain't got tow hundred dollars. Not after paying Annie what
we owed her, and buyin' the gasoline. See you forget sometimes,
too.
Jake check his roll of bills. He hasn't enough. Jack growls.
JAKE
Take it easy. I'll think of something...Maybe I can borrow it from
Annie.
Jack barks once and starts away in high dudgeon.
JAKE
(to Jack)
You don't know! She _might_ lend it to me!!!
CORKY
She's right. She won't. Not after it took so long ot pay her back
this last time.
(then)
We could siphon the gas back out of the Goose...
Jack stops and looks back.
JAKE
How are we going to get back to Boragora if we do that?!
And again Jack starts off in a huff.
JAKE
Okay! _We'll do it_! We'll do it! Jack!!
EXT. HAPA-HAOLI-ANNIE'S BAR - DAY
A haven for human flotsam and jetsam: scars, eye patches, missing ears,
collective chips on collective shoulders.
JAKE, CORKY AND JACK
move in through some swinging doors. Jack immediately sits near the door
watching Jake and Corky moving on in. The two shoot looks back at their
"brave companion". Jake darts a derisive look, and indicating o.s.:
CORKY
He's still sittin' there, Jake. Over there.
(touch wistful)
Boy that's a long time to just sit and drink.
FEATURE A TURKISH SAILOR
big as a house; mean as a mongoose in heat. Jake steps up. And he is
impressed. He sits across from the sailor and smiles as Corky steps up.
JAKE
I understand you've got a bauble you're willing to let go for a
hundred and a half.
CORKY
I told you two hundred, Jake.
On Jake's grimace:
TURKISH SAILOR
Two fifty...American.
The man's breath is enough to take the curl out of Jake's hair. Jake seems
about to bargain. The sailor looks at him balefully. Jake changes his mind
and produces a roll of bills from his jacket. Figuring at a rate of exchange,
he peels off all but four or five, adds two more and surrenders them. The
sailor pulls a vicious-looking knife from a neck sheath -- trouble?! -- and
unscrews the top of the haft to shake "the eye" into his palm.
FEATURE JAKE
The Holy Grail in sight - and in hand. He admires it. He would offer a word
of thanks, but decides against it. He and Corky head for the door.
FEATURE JACK
He see them coming, he barks as he scoots out the door.
EXT. HAPA-HAOLI-ANNIE'S BAR - DAY
Jack skitters along the veranda to leap onto a nearby pile of crates which
puts him chest high to Jake and Corky who step up, all aglow.
CLOSER
Jake polishes the eye on his shirt front and proffers it to Jack to admire.
JAKE
Didn't I tell you I'd get it back for you one day?
Jack barks twice, then darts for a closer look. And still closer. He sniffs the
eye, then with a slow look to Jake he growls, and leaps from the crate to
stalk away. Jake examines the eye closely in the sunlight.
CORKY
What is it, Jake. What's wrong?
JAKE
It's a fake...
(yells)
Jack! I didn't know!!
And he whirls to head for the bar. Corky quickly follows.
INT. HAPA-HAOLI-ANNIE'S BAR - DAY
as Jake and Corky burst inside to stop dead in their tracks.
THEIR POINT OF VIEW
Everything as before except the (conspicuously situated) table at which the
Turkish sailor sat is empty.
JAKE AND CORKY
exchange looks, and:
EXT. APPROACH TO WHARF - DAY - JAKE AND CORKY -
TRUCKING SHOT
Darined, disheartened and disappointed -- and ticked off.
JAKE
Some friend Annie is.
CORKY
She did offer to buy the Goose, Jake.
He shrugs at Jake's grimace: his attempt to look on the bright side falling
flat. Then:
CORKY
I gotta say I'm really disappointed in Jack. I mean I think he thinks
we tried to trick him!
(beat)
We wouldn't do a thing like that.
JAKE
What ticks me off is I couldn't tell the difference...even if it was
dark in there.
CORKY
(beat, then)
So how are we gonna get to Boragora?
JAKE
We'll readio Louie and see if he'll underwrite a loan from Annie.
CORKY
There y'go foregettin' again, Jake. Louie said if we didn't pay up
what we already owed...
JAKE
(overlaps)
It was just a though.
CORKY
Don't worry. Something'll turn up. It always does. When you
least expect it; whenver things look darkest, if you...
JAKE
(cautious hope of something o.s.)
Corky...
CORKY
(misreading)
I know it sounds Pollyanna, Jake, but y'gotta have faith....
He breaks off his "pollyannaing", reacting to the look on Jake's face, and
following his gaze to:
INCLUDE ALEXI AND LUCIA
standing next to the Goose with four pieces of luggage.
CORKY
I wonder what they want.
Jake chooses to let Corky remain in the dark. He also chooses not to play it
"eager". Lucia's attractiveness is not lost to him as he and Corky stop.
There is an imperiousness about Alexi which Jake will take a dislike to. The
dislike will grow. (Note: The gasoline barrels have been taken away.)
JAKE
Afternoon.
ALEXI
This is your craft?
JAKE
That's right.
ALEXI
I was told it is for hire.
JAKE
(casually)
That depends on where you wanna go.
ALEXI
Could you fly us to an island called Boragora?
CORKY
That's where we're headin'...
(beat)
Jake, didn't I tell you everything'd work out?
JAKE
The fare is three hundred dollars, American...for the two of you. Of
course, I take francs or pounds or....
Corky has darted him a look (he has upped the price a bit) as:
ALEXI
We have American dollars.
JAKE
In advance. Mister...?
ALEXI
I am Alexi Suslov.
No longer a need not to, Jake turns hiss attention (and charm) on Lucia.
JAKE
Jake Cutter, ma'am....
ALEXI
(surrendering money)
Mademoiselle Rety and I shall wait aboard, out of the sun.
JAKE
It'd be cooler over there in the shade. Gassing up is going to take....
ALEXI
(overlapping)
Thank you very much. We will wait aboard.
He guides Lucia to the fuselage hatch. Corky darts a look at Jake who
shrugs. Then:
CORKY
Hey, Jake. Look.
INCLUDE JACK
moving along the wharf toward them.
CORKY
I guess he had second thoughts about us trickin' him.
JAKE
Came to your senses, did you?
Jack darts him a look and a snort and jumps into the plane.
JAKE
We aren't leaving for a while. It's going to be hot in there.
Another snort and Jack disappears into the plane.
JAKE
Introduce 'em, Corky.
(beat)
I'll get us some gas.
As he starts away, Corky sticks his head in the hatch door and"
CORKY
Ma'am, Mr. Suslov, that there's Jack. Jack that's....
EXT. THE GOOSE - DAY - STOCK
skimming along from an island, picking up speed for a takeoff.
EXT. THE GOOSE - DAY - STOCK
in flight.
INT. THE GOOSE - DAY
in flight. Jake trims tabs, etc. Corky watches the dials; sets the gas mixture,
etc., then:
CORKY
Two thousand rpms, Jake.
JAKE
Check.
CORKY
Twenty-seven inches of manifold pressure.
JAKE
Check. Time to break out the goodies.
Lucia sits in the first of the cabin right behind Corky. Alexi sits in the first
seat behind Jake. Both perspire profusely. Jack is in his place. As Corky
retrieves a small box from the cabin floor beside his seat (revealing some
sandwiches), Jake leans back to speak to Lucia.
JAKE
You okay?
Alexi leans forward and somewhat between them and:
ALEXI
We are fine, thank you.
Jake grimaces, Alexi's penchant for answering for Lucia is irritating.
JAKE
The flight takes about four hours, so sit back and relax. Corky
picked up some sandwiches at the hote.
He has retrieved on and passes it to Lucia, bu Alexi intercepts it, and off
Jake's look....
ALEXI
(explaing)
Certain foods disagree with her delicate constitution.
He has inspected the sandwich as Lucia gives him a "staying" gesture and
now takes it from him to begin eating it, as:
CORKY
That one's roast beef. I got chicken if it'd be better for your
constitution.
LUCIA
This is fine. Thank you very much. I was quite hungry.
JAKE
What part of France are you from, Miss Rety? Your accent is....
ALEXI
(overlaps)
Her family were missionaries in China. Nanchang. They had to
flee the Japanese.
CORKY
What are you doing in htis part of the world?
LUCIA
I was separated from my family when the Japanese overran....
ALEXI
(overlaps)
There was word her father was somewhere in the French
Marivellas. We are looking for him.
JAKE
Living in Nanchang, you must have gone to the French school
there, on the Yangtse.
ALEXI
As a matter of fact, she did.
Corky has since passed a sandwich to Alexi and has taken a bite on his own.
He reacts to this last exchange as:
JAKE
What is it with you? The lady can't speak for herself?
At Lucia's darted look and hint of a frown:
ALEXI
A lady such as Mademoiselle Rety travelling alone, is obviously in
need of protection. I have been hired to supply it. You must
forgive my overzealousness.
JAKE
Well, you can relax for a while. She won't need any protection
here.
Jake looks at her, and might speak, but she averts her eyes. He shrugs and
turns his attention to flying, as in an aside:
CORKY
Jake? There ain't no French school on the Yangtse, near Nanchang.
JAKE
(nods)
Making him a liar on top of everything else.
We hold on Alexi and Lucia for a beat, then ---
EXT. THE GOOSE - DAY - STOCK
in flight.
EXT. BORAGORA LAGOON - DAY - STOCK
as the Goose comes in for a long, gliding landing.
OVERLAP TO
EXT. THE MONKEY BAR - DAY
Corky carries the luggage for Lucia who is somewhat frazzled-looking from
the trip. Carrying one suitcase Jake gestures the way to her and Alexi (who
carries one suitcase and uses his cane). Jack skitters ahead into the bar.
INT. MONKEY BAR - DAY - VARIOUS ANGLES
Locals and transients pay varied attention to the last few bars of Sarah's
rendition of a popular song of the time. Louie pays rapt attention while
Gushie rolls himself about serving drinks. Jack appears, presaging the
others' arrival. Louie will pour him a saucer of beer.
FAVOR JAKE, CORKY, LUCIA AND ALEXI
as they enter. Silent greetings of recognition are exchanged among the old
friends.
FEATURE SARAH
who evidences piqued interested in Lucia and Alexi. Nothing untoward, but
Lucia is attractive, despite the ravages of travel: Jake does draw the pretties.
FEATURE LOUIE
Sarah's song ends a moment after Jake has led Lucia and Alexi to Louie.
Corky darts an envious eye at Jack lapping up his beer. Then with a
scattering of applause following her, and with the piano player continuing
with some ditty, Sarah moves up. Over this:
JAKE
Louie, Mademoiselle Lucia Rety. Alexi Suslov.
ALEXI
Mr. Cutter said we might find rooms in your establishment.
LOUIE
(pleasure before business)
A countrywoman. Enchante. Mademoiselle.
(in French)
Such a delight to serve so charming a guest.
LUCIA
Your flattery is most kind. Such a pleasant....
ALEXI
(overlapping)
Mademoiselle is quite tired. If you please, we will require
adjoining rooms.
Louie is a touch affronted by the interruption.
ANOTHER ANGLE
as Sarah steps up:
SARAH
I see you two temped the Gods again...and lived.
JAKE
Hi, kid.
She covers the irritation his flip greeting engenders as:
CORKY
That was a really pretty song, Sarah.
SARAH
You sure know how to please a lady, Corky.
(veiled barb at Jake)
Do you give lessons?
(off Jake's frown to Lucia)
Sarah Stickney White. Welcome to Boragora.
LUCIA
(warmly pleasant)
Lucia Rety.
SARAH
You look a little limp from travelling.
LUCIA
I am.
SARAH
You'll feel better after a bath.
JAKE
(to Sarah)
Alexi Suslove.
Suslov acknowledges Sarah with a nod as:
ALEXI
If we might see the rooms now.
LOUIE
It will be a little time, monsieur.
(to Lucia in French)
The chambermaid was late.
(in English)
The only adjoining suite acceptable enough for the lady is being
prepared.
(a gesture to his table)
While you wait, if you would permit me to open a presumptuous
little wine...?
CORKY
I like a presumptuous wine.
(off Louie's look)
Course, beer's just as good.
SARAH
I have soem things to do.
(to Lucia)
I hope I'll see you again.
ALEXI
We will be here for only a brief time.
Sarah reacts to, and Jake shakes his head at Alexi's "overzealousness", and to
Alexi:
JAKE
You're in good hands with Louie, there. Beyond that, be on guard.
He starts away and Willie who has entered approaches.
JAKE
Reverend Tenboom excepted.
He tosses a wave, and to Lucia.
JAKE
Good luck with your search for your father. Come on, Corky.
Corky reluctantly follow.
CORKY
I'll take a raincheck, Louie.
NEW ANGLE
as Willie steps up for:
LOUIE
Will you join us, Reverend. I was just about to get some wine.
WILLIE
Thank you, Louie, but I came for a bottle of brandy; I have work to
do at the church.
LUCIA
You are a missionary.
WILLIE
Ja.
ALEXI
(hint stiffly)
You are German?
WILLIE
Dutch. I am with the Dutch United Church.
LUCIA
Please, can you give us a few moments? Maybe you can help us.
Louie asides to Gushie to bring the wine and glasses as he and Willie sit and:
WILLIE
Helping is my mission in life. To help where I can...
(a look to Lucia)
...and to bless those who will accept my ministarations.
ALEXI
Are you familiar with the missionary work in these islands?
WILLIE
I would say that I am, jah.
ALEXI
We are looking for Mademoiselle Rety's father. He was a
missionary doctor in China. We have traced him to the Marivellas.
WILLIE
(shaking his head)
A French missionary doctor from China, now in the Marivellas?
LUCIA
He is Russian.
ALEXI
Her mother was French.
WILLIE
(recollects)
There was talk a time ago of a Russian missionary on Tongaree, but
no one I know ever believed the story.
LOUIE
Or has even been interested in verifying it.
ALEXI
Why is that?
WILLIE
Tongaree is inhabited by cannibals.
On their looks:
EXT. THE PIER - DAY - THE CHINA CLIPPER
is disgorging passengers.
FEATURE MIRASLOVSKI
a cold-looking, impassive man with high Slavic cheekbones. As he
deplanes, he nods to the purser:
MIRASLOVSKI
(heavy accent)
Thank you for a most pleasant flight.
As he heads away, he retrieves a handkerchief from an inner coat pocket to
dab the beads of perspiration off his face. In doing so we see a holstered
revolver under his coat.
FADE OUT
_END OF ACT ONE_
_ACT TWO_
FADE IN
INT. MONKEY BAR - DAY - EARLY MORNING
Chairs, upended on the tables. Deftly handling his wheelchair, Gushie goes
about cleaning up. Jake and Corky sit at the only table set, having breakfast.
Jake is reading an old newspaper and only half-hears Corky who eats and
prattles.
CORKY
It was Paule Whiteman comin' from that place near the pier in Santa
Monica. You should have heard it. Really great music.
JAKE
Mmmm.
CORKY
The skip lasted last almost twenty minustes, off and on, 'fore it
bounced off somewhere else.
JAKE
Mmmm.
CORKY
I don't mind tellin' you: listenin' made me homesick.
(beat)
We're goin' back to the States some day, aren't we, Jake?
JAKE
What'd you say, Corky?
CORKY
What are you reading?
JAKE
_The Boston Globe_.
CORKY
(looks)
It's four months old.
(with an almost wistful look of empathy)
You think about it the same as me, don't you?
JAKE
Think about what?
CORKY
You think about it.
NEW ANGLE
as Alexi moves in and to the table.
ALEXI
Good morning.
JAKE
Suslov.
ALEXI
I have been looking for you.
CORKY
We been right here. We was down to the Goose earlier; that
starboard engi....
ALEXI
(overlaps)
I would like to hire you and your aircraft again.
JAKE
Louie told me about your conversation with Reverend Tenboom
yesterday.
CORKY
You don't believe that crazy story about a white man livin' with
them cannibals on Tongaree.
ALEXI
(ignores Corky)
I will pay you well.
JAKE
Pass.
ALEXI
Mr. Cutter, it is very important that we reach....
CORKY
(overlaps)
Double pass.
ALEXI
I have not read you as a man who lacked courage, Mr. Cutter. And
I can read men well. It is a little bit personal, is it not? Your
refusal?
JAKE
A little bit.
ALEXI
Mademoiselle Rety is searching for her father. Her _father_. Can
you not put aside what you feel for me, and identify with such a
quest?
Coky has darted his look to Jake. Suslov could not know how directly he
has touched a nerve. He gets no reply so he turns and unbending to
rejection, limps away.
CORKY
You stick to your guns, Jake.
(beat)
I mean broke as we are: Tongaree!
(beat)
Jake?
JAKE
Yeah?
CORKY
You ain't doin' like he said: 'identifin'?' It ain't the same as you and
your father....
A look and:
EXT. TENBOOM'S CHURCH GROUNDS - DAY
Some ongoing activity: natives gardening, etc. A pretty Native Girl moves
out of the residence to look about. To a gardener:
NATIVE GIRL
Have you seen Reverend Tenboom?
The gardener shakes his head. The girl heads away to exit into the church.
INT. TENBOOM'S CHURCH - DAY
The Native Girl moves in to look about and call his name. As she moves
through the church she passes the secret panel leading to Tenboom's radio
rom. We hold and she passes on, calling his name. And we:
INT. TENBOOM'S SECRET RADIO ROOM - DAY
Willie is at the radio wearing earphones and with angry impatience taps out
a message.
Intercut with:
A GERMAN SUBMARINE COMMANDER AND HIS RADIO MAN
RADIO MAN
(verbally decoding)
....Unterseeboot is to maintain constant repeat constant contact with
this station. Have been calling since last night....
Willie angrily taps away.
SUB COMMANDER
(imperious dictation)
Tell him to send his message and stop questioning my....
Will hears the reply. It irritates him and begins sending again.
The Radio Man decodes for the Commander:
RADIO MAN
Further information re Russian reputed to be on Tongaree. Have
learned person who went there six months ago also Russian....
Willie taps away on the key.
The Radio Man decodes for the Commander:
RADIO MAN
...now these two more Russians. Suspect Soviet spy mission. Will
proceed on this assumption. contact Berlin for orders....
EXT. MONKEY BAR HOTEL - DAY
A torrential tropical rain pours down. Jake walks along the second floor
lanai to his room.
INT. JAKE'S ROOM - DAY
Light flilters through the louvered slats. Jake's key rattles in the lock; the
door opens and Jake enters and reacts -- not with surprise. With an almost
knowing smile:
JAKE
How'd you get in here?
INCLUDE LUCIA
waiting in the room for him. For a fleeting moment she tries to act the
seductress. It does not fit her.
LUCIA
Your friend Louie is a romantic. He gave me a key when I asked
for it.
JAKE
He's also a very good judge of women. He'd know you're not the
type.
LUCIA
(admits)
I have found a friend in your friend.
JAKE
Maybe he'll take you to Tongaree.
LUCIA
I came to ask you.
(at his look)
I _must_ learn if the man on that island is my father. Certainly you
can understand....
JAKE
(overlaps)
Suslov gave me the same pitch.
LUCIA
I do not understand 'pitch'.
(then)
Mr. Cutter. I am a refugee....
JAKE
I know. From China.
Lucia wants to say more than she does. Jake senses it and despite his better
judgment feels a kind of alliance to her cause as:
LUCIA
Countries go to war...like Japan and China...order changes...and the
people...people like me are thrown to the wind.
JAKE
(addressing to his own devil)
A lot of people are thrown to the wind for a lot of reasons.
LUCIA
(intuitive)
And must deal with their circumstances, each in their own way.
(sensing his awareness of this, and a slackening of his
resolve)
You are more than you seem, Mr. Cutter.
(beat)
Will you take us to Tongaree?
JAKE
(beat)
I'll take your friend, Suslov. If we find your father we'll bring him
back.
LUCIA
No.
JAKE
It very likely is going to be dangerous.
LUCIA
You will take both or I shall somehow find other means of getting
there. A Princess Kogi we are told....
JAKE
(overlaps)
Will take you for a price and drop you at the edge of the jungle.
(at her level look)
All right. I'll take you.
LUCIA
Don't show anger, Mr. Cutter.
(intuitively)
I know you understand.
EXT. MONKEY BAR HOTEL - DAY
at the foot of the stairs leading to the upper lanai. A watching Sarah sees
Lucia move out of Jake's room and move along the lanai to her own room.
Sarah frowns slightlly. As angle adjusts and she turns to move inside the
bar, she collides with Miraslovski.
SARAH
I'm so sorry.
MIRASLOVSKI
It was my fault.
(stolid attempt at graciousness)
The rain is a welcome relief from the heat.
The words are there but the smile is not, nor the attitude of amiablity. Sarah
forces a smile, ad-libs a "yes, it is," and moves on into the bar. Miraslovski
looks balefully up the stairs and heads away.
EXT. MONKEY BAR - NIGHT
The rain has stopped. There is a bright moon. Sounds of music and babble
of voices from inside. Then we see Willie move up to glance inside. He is a
touch furtive as he peers over the swinging doors.
HIS POINT OF VIEW - THE ACTIVITY
Locals, tourists. Lucia and Suslov sit to one side eating an evening meal.
WILLIE
turns away and slips up the stairs to the upper lanai.
EXT. UPPER LANAI - NIGHT
The bright moon bathes the entire area in a cold light. Willie moves up and
to Lucia's room.
AT THE DOOR
Willie darts a look about then proceeds to pick the lock with a thin wire-like
tool. The lock clicks and Willie slips inside.
INT. LUCIA'S ROOM - NIGHT
Willie quickly closes the door, relocks it, and crosses into the room and turns
on a small lamp near the bed. He steps to the closet to look in: Empty --
save for Lucia's two suitcases which he retrieves to place on a stand at the
foot of the bed.
CLOSER - WILLIE
opens the first to examine the contents: ladies apparel. He checks for false
bottom and sides. Nothing.
EXT. MONKEY BAR - NIGHT
Miraslovski moves up out of the gloom to check inside as Willie had done.
INT. LUCIA'S ROOM - NIGHT
Willie checks the second suitcase, and discovers a false bottom. He
carefully removes the clothes. piling them in order, then he searches for and
finds a secret compartment. He opens it and gapes at the contents. We
cannot see what he see.
EXT. LANAI - NIGHT
Miraslovski gains the top step and starts down along the lanai toward Lucia's
room.
INT. LUCIA'S ROOM - NIGHT
Willie's hands hover over the unseen contents of the false bottom. His hands
flutter to his coat front, his fingertips flick over the material, drying the
beads of cold perspiration. All the while he stares in fascination. Resolve
summoned, he starts to retrieve something but a knock on the door arrests
him. He quickly closes the false bottom and starts to return the clothes.
EXT. LUCIA'S ROOM - NIGHT
Miraslovski looks about -- and knocks again. Now he retrieves a lock pick
from his coat pocket.
INT. LUCIA'S ROOM - NIGHT
Willie closes the suitcase. He hears the lock being picked and panics. He
starts for the closet, returns to turn out the light and starts to pick up the
suitcase when the door starts to open. He darts for the closet and gets inside
as Miraslovski slips in to close the door. The suitcase lies on the bedstand.
NEW ANG;E
as Miraslovski moves into the monlit-streaked room. He turns on the same
lamp. He crosses to the closet as to open it when he spots the suitcase.
IN THE CLOSET
slatted, permitting shadowy movement to be seen. Willie holds his breath.
INT. MONKEY BAR - NIGHT
Ongoing revelry. Lucia and Alex finish their meal in a side booth. Across
the way, in another booth, Jake, Sarah, Corky and Louie finish their meal.
ANGLE - JAKE, ET AL
midscene: miffed.
SARAH
...so what's a dippy singer in a backwater South Sea Island bar
know, right?!
JAKE CORKY
(a tease) You ain't dippy, Sarah.
Right.
LOUIE
Cherie, do not denigrate yourself.
(beat)
Or the Monkey bar.
JAKE
(overriding)
The idea of the two of them being spies is ridiculous. They may be
a lot of things, but....
SARAH
(challenging glare at Jake; to oblique for the others)
So I don't know anything about the world of espionage...
(added meaning)
But people who do might be very interested.
JAKE
That very well might be.
SARAH
Tell me it's not suspicious: A Russian 'missionary' goes to
Tongaree....
JAKE
(overlaps; corrects)
_Supposed_ to have gone there.
CORKY
An' prob'ly eaten by now...
(to Jake)
Just like we're gonna be if....
SARAH
Corky!
(beat; to Louie)
Now two more Russians are going there thanks to fly-boy, here.
JAKE
(amused)
Fly-boy?
SARAH
Everybody says we're getting closer to war. When it's here,
Tongaree will occupy a very strategic position located as it is right
in the heart of the Marivellas.
LOUIE
That is not the reasoning of a dippy singer in a backwater...
He breaks off his intended flattery as Lucia and Alexi step up to the table.
ALEXI
Please excuse the intrusion.
LOUIE
Alexi. Mademoiselle Rety.
Sarah stews but covers.
ALEXI
Could we complete our business arrangement? To purchase the
gasoline and whatever else we will need?
JAKE
Fine with me.
ALEXI
In our rooms?
Jake stands when Sarah gives him a covert gesture of dismissal: Go, if you
insist on helping spies! He smiles, and:
JAKE
I'll be back in a few minutes.
SARAH
Don't hurry.
As Jake starts away with Lucia and Alexi:
INT. LUCIA'S ROOM - NIGHT
In the half-gloom Miraslovski is methodically going through the suitcase.
IN THE CLOSET
Willie strains to see (cannot).
EXT. LUCIA'S ROOM - NIGHT
Jake, Lucia and Alexi approach from b.g.
INT. LUCIA'S ROOM - NIGHT
Miraslovski discover the false bootm -- he has dumped the clothers onto the
bed. As he looks for the secret to opening the false bootm, a key is inserted
in the door lock. Instantly Miraslovski turns the light out and looks for
cover, and decides on the closet.
IN THE CLOSET
Willie reacts -- and grips the corners of the lovers with both hads, holding
the door shut.
IN THE ROOM
Miraslovski reacts to the resistance of the door, but has no time to lose. He
darts to the wall near the door.
CLOSER
as the door opens, Miraslovski flattens himself. Alexi takes a step inside to
turn on the main light switch he sees the open suitcase and the scattered
clothing and pulls Lucia aside as Miraslovski darts out. Before the sword-
cane can be brought into play, Miraslovski drops Alexi with a single blow.
He would dart past to charge at Lucia?!! But Jake is there to tackle him and
drive him abck into the room. Lucia screams.
IN THE CLOSET
Willie reacts; what the hell is going on? He cannot break his cover!
JAKE AND MIRASLOVSKI
in the room square off as both roll to their feet. The terrified Lucia backs to
the wall as Miraslovski blocks a left jab then throws a karate chop which
staggers Jake. And Miraslovski disappears into the night.
NEW ANGLE
as Jake and Alexi gather themselves and:
IN THE CLOSET
Willie tries to figure out what is going on.
IN THE ROOM
as Lucia moves to Jake and Alexit for:
LUCIA
Are you all right?
JAKE
Who was that?
ALEXI
How would we know?
JAKE
I didn't ask you.
LUCIA
(at his look; touch of fear)
I don't know who he was.
JAKE
Well you know a lot more than you've told me so far. Who are
you? What are you? I want to know what it is I'm getting into.
ALEXI
We will tell you nothing!
JAKE
(heading away)
Then good-bye and good luck.
LUCIA
Mr. Cutter!
Jake turns back.
LUCIA
My name is Anastasia Romanov.
Jake glowers, disbelieving, but his retreat has been stayed.
IN THE CLOSET
Willie reacts, stunned.
IN THE ROOM
Lucia subtly becomes "royalty" and Alexi becomes her "subject".
JAKE
(a look; beat)
Good night.
LUCIA
(staying his retreat)
Jake! Wait!!
She steps to the open suitcase to open the secret compartment and retrieve a
handful of priceless jewelry. Jake gapes. She singles out one piece: The
double-headed eagle on a chain -- the Romanov crest, and:
LUCIA
I am the only surviving child of Tsar Nicolas II. I am the heiress to
the Russian throne.
(then)
That is _what_ I am. Proof is on Tongaree...Who I am...I don't
know. I have yet to learn that. In any case: Who. What. I need
your help.
On Jake's look:
FADE OUT
_END OF ACT TWO_
_ACT THREE_
FADE IN
INT. LUCIA'S ROOM - NIGHT
A short time later Alexi is returning the clothes to the suitcase. Lucia sits
(regally?) in a chair. Jake confronts her.
ALEXI
I thought the Royal Family was shot together, in 1918.
LUCIA
(not without pain)
It was. But I was spared. A white Russian, an imperial guardsman
who disguised himself as one of the 'proletariat' murderers avoided
shooting me...I laid there, pretending I was dead while my family...
(beat)
When the bodies were to be buried, the guardsman picked me up...we fled. He was my guardian then...
(of Alexi)
...he has been ever since.
JAKE
(logic)
Making him proof of your claim to the Romanov throne.
ALEXI
A mere soldier would never be believed.
JAKE
The one on TongareeL If he's alive -- ?
LUCIA
Anatoli Kuzmich Filipov. A monk. Second only to Rasputin, in my mother's affection. After the revolution, he fled Russia. On and
off, for twenty years, Alexi and I have been searching for him.
JAKE
How is he your proof?
LUCIA
He attended my mother when I was born. He can identify me by a
birthmark on my shoulder.
JAKE
The man we caught in your room?
ALEXI
Like the man I killed on Tagataya. A Bolshevik agent.
JAKE
(look, then)
You must want to be a princess again, awful bad.
LUCIA
I want to serve my people.
(beat)
I want the right to my name.
JAKE
(identifies with this, then)
The two of you spend what's left of the night in my room. You'll be
safer...We'll leave right after daylight for Tongaree.
He retrives the suitcase and they exit. Beat, then Willie appears from the
closet to move across the room, check outside, then exit. Then:
EXT. MONKEY BAR HOTEL - UPPER LANAI - NIGHT
A short time later, Sarah moves out of her room and starts toward Jake's
room. Something o.s. makes her pause and stay close in some shadows.
INCLUDE LUCIA
in nightdress, on the lanai outside Jake's door. She is looking out over the
quiet night. Then she turns to answer a summons inside the open door.
LUCIA
Coming.
AT THE DOOR
We can see inside the room where Alexi who has called to her sits in a
chaise-like chair covered with a light blanket. Across the room, the bed.
Lucia moves in and closes the door.
FAVOR SARAH
misreading what she has seen and heard. There is a little pain and regret.
She turns and heads away. And:
EXT. BORAGORA WHARFSIDE - DAY
In b.g. Corky is helping Lucia and Alexi onto the Goose. Jake, Jack, Sarah
and Louie in f.g. Sarah covers her feelings with a patina of worldly elan.
(Note: Jake wears a sidearm on his hip.)
SARAH
I've been given no reason to change my mind about her. Them.
You have.
(veiled added meaning)
You believe that royalty story.
JAKE
Yes, I do.
LOUIE
If you are right, Jake; if she is Anastasia, and you help her prove it,
you will be a postscript in history.
SARAH
Prove it or not you see to it Corky doesn't end up part of some
cannibal's diet.
JAKE
I'll do that, kid.
SARAH
Do me a favor. Will you Jake? Don't call me kid.
(beat)
If you play your cards right, one of these days you'll learn how
wrong you are in thinking of me that way.
She gives him a "young-Bacall" look and heads away. With her back to him
the look gives way to one of vulnerability. Vulnerability angers her.
EXT. BORAGORA LAGOON - DAY - STOCK
The Goose glides across the water and lifts off.
JAKE'S VOICE
(not without humor)
The plan was simple: Fly to Tongaree; hope to find Anotoli
Filipov; hope he had developed some influence over the cannibals;
hope he could identify Anastasia as the heir to the Romanov throne,
and hope _that_ meant enough to do a turnaround in the Russian
government.
(beat)
At best I figured the whole thing shouldn't take more than a day.
The Goose flies on. Then:
EXT. PRINCESS KOGI'S ESTATE - DAY
Princeess Kogi and Willie, in his military uniform, stroll through her
manicured gardens. Toto walks behind disdainful of occidentals.
PRINCESS KOGI
Willie, you come to me with the most fantastic stories.
WILLIE
I _saw_ the pendant! I _almost_ helt it in my hands! Berlin has
confirmed the design.
PRINCESS KOGI
Why is the little paperhangar interest in Anastasia? If she is
Anastasia.
WILLIE
The Fuhrer is concerned for her safety. He wants to protect her
from Bolshevik assassins.
PRINCESS KOGI
Of course he wouldn't consider exploitying her for political
purposes.
WILLIE
Exploit? You think she would not wish to participate in the
struggle against Communism?
(off her knowing smile)
Can we reach an agreement?
PRINCESS KOGI
Why me?
WILLIE
Naturally, I wanted you to have the first opportunity.
PRINCESS KOGI
I'm touched. I thought perhaps no one else would agree to take you
to Tongaree.
WILLIE
I have asked no one else.
(then)
The native being...obstreperous...we would need some of your
soldiers.
PRINCESS KOGI
Not necessarily.
(at his look)
Their Chief owes me a favor. I admit his honoring that fact is quite
problematical.
WILLIE
A _cannibal_ owes you a favor?
PRINCESS KOGI
(shrugs)
I sent him some gold prospectors a few years ago.
(laughs at his horror, beat)
What's the deal, Willie?
WILLIE
I am authorized to make you a very generous offer.
PRINCESS KOGI
I don't want money. I have all the money I need.
WILLIE
What then...?
PRINCESS KOGI
I would consider the Romanov jewelry.
WILLIE
Berlin wants to make an ally of Anastasia! Conficating her jewelry
would hardly facilitate that.
PRINCESS KOGI
Sometimes you are so unimaginative, Willie.
(at his look)
Thefts can be arranged.
INT. SARAH'S ROOM - DAY
She sits at her desk, recieving a message over her secret radio. She listens
intently, decoding onto a note pad.
INSERT - THE PAD
Her printing reads: PRESUME ROMANOV IDENTITY GENUINE.
ASSIST TONGAREE EFFORTS. BEWARE SOVIET AGENTS.
SARAH
reacts.
EXT. TONGAREE LAGOON - DAY
The Goose is anchored a few yards off shore. Corky sits in the open
hatchway with a rifle, on guard. He is not at all happy.
CORKY
(soliloquy)
At least Jack could've stayed for company.
(and imaginary conversation)
What was it like on Tongaree, Corky?
(beat)
I don't know fellas. I guarded the Goose ten yards off shore from
cannibals twenty miles inland.
A grimace of self-denigration, and:
EXT. TONGAREE JUNGLE - DAY - VARIOUS ANGLES
to take Jake, Lucia (wearing borrowed, sensible clothes), Alexi, and Jack
through enough of the verdancy to say touch, exhausting going. It is
difficult on the lame Alexi, but -- grit and cane -- he is worthy of the
challenge. At one point they slog through chest deep, brackish water. (Jake
carries Jack.) Over all: subdued jungle sounds -- birds, insects and wild
animals. All the while an unseen threat is sensed just beyond the enveloping
tangle of jungle growth. Then:
AT A CLEARING
A scattering of bones and two or three skulls lie near the blackened area of
an old fire. A few pieces of torn clothing; an old shoe (a hole in the sole).
First Jack, leading hte way, then the others appear in b.g. Jack moves to f.g.
and stops, looks about, and with a growl, beats a retreat to Jake and the
others.
FEATURE JAKE
as he and the others move up, and Jack scoots to him to growl. All stop for:
JAKE
What is it, Jack? Something wrong?
Jack barks twice, looks at the o.s. bones, sneezes a snort and starts back for
the Goose!
JAKE
Wait a minute!
(as Jack waits)
Stay with the lady.
(to Alexi)
Let's take a look.
The two head on. Lucia gratefully sits on a fallen tree trunk. Jack sits near
her.
AT THE FIRE/BONES AREA
Jake and Alexi move up to react with mutual concern.
WITH LUCIA
Neither she nor Jack, attention on the b.g. Jake and Alexi, are aware of a
humoungously large snake uncoiling from the tree directly above them.
WITH JAKE AND ALEXI
ALEXI
How long ago?
JAKE
No telling.
ALEXI
The clothing....
JAKE
What there is looks like seamen's.
ALEXI
So far from the coast?
JAKE
I guess nobody was hungry until they got here.
WITH LUCIA
as the snake inches ever lower out of the tree.
WITH JAKE AND ALEXI
JAKE
(of the evidence of carnage)
We can work our way around; she doesn't have to see this.
ALEXI
We should have _made_ her stay at the plane with your friend;
brough Filipov to her.
JAKE
I should have made her stay on Boragora!
They react as Jack sets up a loud barking.
FAVOR LUCIA
Jake and Alexi in b.g. The snake is a foot from Lucia's head now. She sees
it and is frozen in fear. Jack is growling.
FAVOR JAKE AND ALEXI
Lucia and Jack in b.g.; the snake uncouling closer. Jake draws his gun.
QUICK CLOSE - JAKE'S GUN
fires with a flash into camera.
THE JUNGLE - THREE QUICK ANGLES
It really comes alive with bird sounds, roars of animals and chatterings, etc.
FEATURE LUCIA
as the snake slowly uncoils -- and uncoulds from the tree. She watches
wide-eyed as Jake and Alexi race to her. Jake instinctively puts his arms
around her (something which would never occur to Alexi to do: She is
royalty: his "station").
LUCIA
I...I couldn't move.
JAKE
It's all over.
LUCIA
Jake, I'm going to faint.
And reacting to a nearby o.s. sound (plus Jack's growling):
JAKE
Maybe I will too.
INCLUDE A DOZEN CANNIBALS
melting through the foliage to ring Jake and the others. Jack takes off. The
cannibal's bodies are paint-daubed; they wear loin cloths and remnants of
their seafaring victims' clothes. Those few whose teeth we see are filed to
dagger-like points. Resistance means instant death and Jake knows it. So
does Alexi much as he might entertain using his sword-can. As the natives
cloes in:
FADE OUT
_END OF ACT THREE_
_ACT FOUR_
FADE IN
EXT. THE JUNGLE - DAY - ON JACK
as he tears along at breakneck speed.
ANOTHER ANGLE
The same.
AT THE BRACKISH WATER
Jack leaps in and swims on.
AT THE GOOSE IN THE LAGOON - DAY
Corky sits and sweats and munches on a sandwich. He looks about, bored.
AT THE JUNGLE'S EDGE - INCLUDE THE GOOSE
as Jack breaks out of the jungle to skid to a stop at the water's edge and
banks to get Corky's attention.
FEATURE CORKY
His initial reaction is to offer a smile of welcome and:
CORKY
Hiya, Jack.
Jack growls and moves back to the edge of hte jungle alerting him to the fact
something is amiss. It gets Corky into the chest-high water and wading
ashore, rifle held high. Over this:
CORKY
Somethin' wrong, Jack?
Jack barks twice.
CORKY
What is it, Jack?
(beat)
I'm comin' as fast as I can.
And on his reaching shore, Jack turns tails and streaks away. Corky clutches
the gun, hangs on to his hat and gives fast pursuit.
ANOTHER ANGLE
A few paces and Corky disappears into the jungle. Then Princess Kogi's
power launch cruises around a b.g. edge of the island to cruise into the
lagoon.
ON PRINCESS KOGI'S POWER LAUNCH
Willie, in helmet and khaki, ducks below the gunwale. With him are
Princess Kogi, Todo, who peers through a scope at the Goose, and a handful
of warriors.
TODO
I see no one on board.
WILLIE
You're sure.
TODO
(lowers glass; glowers)
They are all gone.
WILLIE
(standing)
Do you think they left a trail we might follow?
PRINCESS KOGI
My dear Willie, I have no intention of being part of a search party
through a sweltering jungle.
WILLIE
But how will we....
TODO
(overlap)
I will send word to Chief Mombateeka that we are here.
PRINCESS KOGI
(a twinkle)
For the messenger's sake, I hope he puts honor before diet.
TODO
And that Jake Cutter and the lady you seek have not already been
baked, broiled or boiled.
On their looks:
EXT. CANNIBAL VILLAGE - DAY - TO ESTABLISH
The pits: mean, crude huts of grass, cannibal women, warriors, (kids?), and
oldsters. All paint-daubed, dirty, mean-looking, much (mumbo-jumbo) talk;
excitement -- a banquest soon -- and white meat for all!
AT A GRASS HUT
Two fierce-looking cannibals (pointed teeth) stand guard, bearing crude
cudgels and unique-looking, large-headed axes.
INT. GRASS HUT - DAY
A hovel, animal skins, some bones, a human skull decorated with feathers,
etc. Jake, Lucia and Alexi are trussed tight (with woven-reed ropes).
Alexi's can lies nearby out of reach. O.s. the sounds of the expectant
cannibals (when is supper?!) Jake stretches his leg, trying to "toe" the
sword-cane closer. He cannot. Frustration from all. Jake tugs at his bonds.
There is a note of resignation to:
LUCIA
Are we going to die, Mr. Cutter?
JAKE
Kicking and screaming if it comes to it.
LUCIA
I am sorry for bringing you to this.
JAKE
Save the regrets. We aren't dead yet.
ALEXI
(the soldier)
To meet death this way is degrading.
JAKE
(still working his bonds)
As long as the 'meeting' is bein' held of....
ALEXI
Struggle is useless.
LUCIA
Like our quest has been.
(at Alexi's frown)
I could never speak of the doubt.
ALEXI
What doubt?
LUCIA
That it really mattered.
ALEXI
Of course it mattered!
LUCIA
(wry shrug)
I would have liked to know who I am. What more I am.
JAKE
For one thing you're a pretty gutsy lady.
ALEXI
What more than to be Russian Royalty?!
LUCIA
I do not know. And I would have like to know.
(hint of sensuality)
I would also have liked to know what more there is to you.
JAKE
That's a long story. A pity.
Looks for a beat, then"
NEW ANGLE
as Mombateeka, the Chief, enters. He is distinguished from the two warriors
who accompany him (and the others in camp) by his headdress and facial
paint markings. (His are more unique.) He is fat and fearful looking. He
gestures to Lucia. The two warriors move up to begin to cut her bonds. (A
frightening moment as their knives are drawn.) Alexi and Jake both lash out
to kick at them, rather ineffectively, yet enough to receive cuffs and blows
for their efforts. Ad-libs of "Leave her alone!", "No!", "Take me!", etc. An
(almost) involuntary mewling escapes Lucia's throat as she struggles (and
when cut free, claws and kicks).
The two warriors hold her firmly by each arm. At Mombateeka's mumbo-
jumbo order, they exit with her. As Jake and Alexi continue to struggle
against theri bonds, two more warriors enter. Jake is next to be cut free and
taken outside.
EXT. CANNIBAL VILLAGE - DAY
Everybody in the village is ready for the feast and anxious to begin it. Much
mumbo-jumbo anticipation. All have knives and axes of one sort of another.
Several warriors hold the same weapon in one hand, and stout, burl-wood
cudgels in the other. Alexi is dragged out of the hut and brought next to
Jake and Lucia who are held firmly, arms outstretched. At Mombateeka's
gesture, a warrior steps to Lucia as to bash her head in. Jake and Alexi
struggle to no avail.
FAVOR LUCIA
as she kicks and screams (as much in anger and defiance as in fear).
Mombateeka steps to her as to stay her wild resistance by slapping her in the
face and grabbing her by the shirt front and shaking her, terrier-like. In
doing so he tears the shirt open (8:00 pm discretion with cleavage), exposing
the dougle-headed eagle pendant she is wearing.
FAVOR MOMBATEEKA
as he and the warriors react with surprise.
INSERT - THE PENDANT
around Lucia's neck.
BACK TO SCENE
The two warriors hold her but the would-be brain basher lowers the cudgel
to ogle Mombateeka who stares at the pendant and mutters some mumbo-
jumbo.
EXT. THE JUNGLE - DAY
Corky races along after Jack.
JACK
dashes over a faint trail toward camera. Without missing a stride he does a
180 and dashes back the way he came.
INCLUDE SEVERAL CANNIBALS
in b.g. squatting on their haunches, around a small fire -- eating. Thankfully,
we cannot see what they eat, but must we?
FEATURE CORKY
making his way along, then Jack is there to stop him with a low growl and a
darted look back the way he has come.
CORKY
Trouble ahead, Jack?
In reply, Jack barks twice, low, and leads Corly away in an oblique
direction.
EXT. JUNGLE CLEARING/WATERFALL - DAY
Jungle sounds. The clearing is far from idyllic, despite the waterfall. (This
is a harsh place.) To one side is a crude but fairly substantial thatch hut,
topped by a crudely carved Russian Orthodox Church cross.
CLOSER - THE HUT
as, carrying Lucia's pendant, Mombateeka moves onto the lanai. As he
heads down the steps and away, a tall, gaunt bearded man with a quiet
saintliness about him moves onto the lanai. He wars faded khakis and
carries a tattered, Russian Orthodox Priest's cassock which he slowly dons.
Around his neck is a pendant similar to Lucia's.
A DISTANCE FROM THE HUT AND CLEARING
several cannibals stand a little apart from Jake, Lucia and Alexi. Alexi
steadies himself with his (sword) can. There is an air of taut contention
between he and Lucia. Midscene:
ALEXI
It can only mean one thing: Anatoli Kuzmich Filipov _is_ alive.
JAKE
That seems a pretty sure bet.
Despite the contention and despite the years of familiarity, Alexi is facing
royalty. This overlays an anger and frustration that has built.
ALEXI
You cannot turn your back on what you are. Not when proof is so
close.
LUCIA
(torn)
Please, Alexi....
ALEXI
I have spent half my life in the attempt to prove your rightful
position as heir to the throne of Romanov.
LUCIA
And in only a small part of one day I have learned I do not want it.
ALEXI
I will no allow you to deny your duty.
JAKE
I'd say you don't have a whole hell of lot to say about it, pal.
ALEXI
(a target for his anger)
What would you know about responsibilty to name?! To station in
life?! To..?!
He breaks off as Mombateeka steps up to gesture off with an accompanying
unintellible mumbling. Mombateeka returns the pendant to Lucia as she,
Jake and Alexi head away. The cannibals and Mombateeka accompany
them only to the edge of the clearing.
AT THE HUT
The cossack-clad Priest waits expectantly on the lanai, squinting in the
bright sunlight.
INCLUDE JAKE, LUCIA AND ALEXI
approaching in b.g. Now the Priest turns and moves inside the hut. Jake and
the others move up to slowly climb the steps.
AT THE HUT DOOR
A moment of expectation and near reverence, then they exit inside.
INT. THE HUT - DAY
Subdued lighting; spartan; a raised pallet for a bed; tapacloth, gourds for
cups and dishes. A simple icon; a small, crude oil lamp for votive light. A
Bible. The Priest is facing the icon as though in prayer. He turns an almost
saintly quality to Lucia who enters, followed by Alexi (again with his cane),
then Jake. Jake holds back some as the others converge. Lucia holds her
gaze on the imposing-looking Priest. Contrary to her words of only
moments ago, she slowly becomes infused with a sense of responsibility to
her heritage, and with an understanding that she must fulfill her destiny.
ALEXI
(reverential)
Anatoli Kuzmich Filipov?
PRIEST
Yes?
ALEXI
(the soldier)
I am Alexi Suslov.
PRIEST
(nodding)
The soldier saviour of our young princess.
(beat)
At long last.
ALEXI
This is....
PRIEST
(overlapping, to Lucia)
Anastasia Nicolaevna Romanov. I did not need to Royal pendant
Mombateeka brought to show me. I need no further proof than to
look in your eyes.
ALEXI
But the proof is there. The mark on her shoulder. You remember?
PRIEST
A kiss from the angel who brought her to her parents.
LUCIA
I remember you as a towering figure.
PRIEST
You were only a child.
LUCIA
Yet, I remember.
(beat, meaningfully)
I remember many things.
ALEXI
(accusative)
But she is choosing to forget ---
LUCIA
(cuts him off)
Alexi....
PRIEST
To forget?
Jake reacts with patient understanding -- and a hint of regret; Alexi reacts
with pride as, her innate, quiet regality evident:
LUCIA
I am Anastasia. I am the rightful heir to the House of Romanov; to
all its lands. And all it's glory. I need you Anatoli Kuzmich
Filipov. And I need you, Alexi. Together, with the help of nations
loyal to our sovereign right, we will restore the greatness that once
was Mother Russia.
PRIEST
(firm resolve)
The decadance that once was will never be restored.
LUCIA
I have heard tales of injustices to our people. True or not there will
be no....
PRIEST
(overlapping; resolve becomes dedication to a cause)
They were not _tales_! They were horrors of everday life! I lived
them! With others who lived them, I helped destroy the evil that
was Romanov!
ALEXI
(fear since realized; resignation to fate)
You are not Filipov....
PRIEST
Filipov is dead! He has _been_ dead for years!
(to Lucia)
But for you he was kept alive. For you he was rumored to be here.
(beat)
With bribes and coersion and trickery the unspeakable savages of
Tongaree have been unwittingly allied to our goal of destroying the
last of the Romanovs. And now, so they shall.
Jake has inched closer and now jumps him. The big man barrels him away
and steps to him, hand thrust in the cassock pocket.
INSERT - HAND IN CASSOCK POCKET
the Priest withdraws a knofe and thrusts it at camera.
ON SCENE
Jake is stabbed in the side. He staggers back in pain; suprised at the
suddenness of the knife thrust. Alexi takes two steps toward the Priest, and
raising the sword-cane, touches the trigger. The blade snaps open. As he
thrusts, the Priest parries with the knife.
CLOSER
A moment of mano a mano and Alexi is stabbed. He staggers back, mortally
struck. Now Jake, who has pushed himself to his feet, lunges at the priest as
the latter steps to the hut door.
ANGLE TO SUIT
a brief, violent and silent struggle: gasps; grunts. Lucia looks on in horror.
Then the Priest screams a long drawn out scream. His struggles stop.
EXTERIOR HUT CLEARING - DAY
Mombateeka and the others react.
INTERIOR HUT - DAY
Jake is pushing free from the priest's body. The knife protrudes from the
dead man's chest. Jake retrieves Alexi's sword-cane and pulls Lucia toward
a reed hut window.
EXTERIOR HUT - DAY
Mombateeka and several cannibals race forward and up the steps.
INTERIOR HUT - DAY
Jake is just about to climb out the window after Lucia as Mombateeka and
the others burst in. Jake turns and hurls the sword-cane, spear-like. The
blade buries itself in Mombateeka's heart. In the ensuing moment of panic
and shock, Jake dives out the window.
EXTERIOR REAR OF HUT - DAY
Jake gains his feet, grabs Lucia's hand and races away into the jungle.
EXTERIOR HUT - DAY
A cannibal charges out and to camera to rent the air with a drawn out, high
pitched warbling cry.
EXTERIOR CANNIBAL VILLAGE - DAY - VARIOUS QUICK ANGLES
As the cannibals react and begin to stream away in answer -- knives, axes,
and cudgels in hand.
EXTERIOR THE JUNGLE - DAY - VARIOUS ANGLES
As Jake and Lucia hurry away through the heavy undergrowth. Off screen,
faint cries: frightening, high pitched; unique in their eeriness.
EXTERIOR THE LAGOON - DAY - AT THE GOOSE
Todo holds a lifeboat-life craft (the power launch?) close to the Goose's
open hatch.
INTERIOR THE GOOSE - DAY
Princess Koji and Willie. A kind of pall hangs over the moment. Willie
rummages in the aft storage compartment. During this:
WILLIE
(deeply troubled)
I just cannot believe it.
(a faint prayer that)
Your messenger couldn't say for sure that....
PRINCESS KOJI
(overlaps)
As long ago as they were taken prisoner, Willie...they are all dead.
TODO
(laughs)
Mombateeka is very hungry.
PRINCESS KOJI
(demanding decorum)
Todo...!
(regretful)
We are all mortal, Willie.
(beat)
I promise I shall find a way to make Mombateeka pay for killing
them.
As he retrieves Lucia's suitcase.
WILLIE
Poor Jake. I really liked him.
Despite her gloom of the moment, Princess Koji is pleased at the sight of the
suitcase -- business is business.
PRINCESS KOJI
She _did_ bring it with her.
WILLIE
As you thought, safer than leaving it in her room at the Monkey Bar
Hotel.
TODO
Not as safe as carrying it with her into the jungle, however.
The suitcase has been opened, the clothes are now dumped, and the secret
compartment opened -- revealing the jewelry. During this:
WILLIE
It is almost like robbing a grave.
PRINCESS KOJI
(retrieving handful)
It is not as though....
A closer look -- a gaping -- a jeweler's eyepiece is retrieved from the folds of
her dress. An examination of a piece of jewelry, then another, then....
PRINCESS KOJI
Paste!
WILLIE/TODO
Paste! Counterfeit! She is a fake!
PRINCESS KOJI
I do not know about that.
WILLIE
But you said they were fake!
PRINCESS KOJI
A woman of means often reproduces her finer jewelry...
(at his look, a chuckle)
In case she comes across people like us!
She looks. Todo joins in. And Willie starts to return the jewels and clothes
to the suitcase. Princess Koji is suddenly serious.
PRINCESS KOJI
Poor Jake. May God rest his soul.
EXTERIOR THE JUNGLE - DAY - ON JAKE
sweat dripping from his face; tense, alert, listening. Off screen the cannibal's
cries. Jake pulls Lucia after him and dashes away.
SOME CANNIBALS
cry their blood-curdling falsetto vibrato as they move through the jungle
bent on violent revenge.
THREE ANGLES
more of the same: cries and movement, to get the feeling they are closing in
on their prey.
THE JUNGLE
The cries carry over.
JAKE AND LUCIA
move at a breakneck pace through the verdant undergrowth, pushing it aside
to hurry on. Off screen, the cries. Jake's wound is evident, but that does not
deter his flight.
CORKY AND JACK
now together, stand looking about, surrounded by the cries. Corky clutches
tight to the rifle.
NEW ANGLE
as the undergrowth bursts open nearby. Corky whirls and raises the rifle.
Jack yelps in terror. And Jake and Lucia appear. Corky's legs almost give
out beneath him.
CORKY
Jake!
JAKE
I knew I could count on you, Corky.
Jack barks.
JAKE
Yeah, you too!
CORKY
You've been shot!
JAKE
Nothing to worry about.
CORKY
Them screams what I think they are?
INCLUDE A CANNIBAL
axe raised, high pitched cry, as he suddenly appears and Corky raises the
rifle, killing the native.
CORKY
They're what I think they are?
JAKE
Let's go!
And they dash away, Jake pulling Lucia along.
FAST TRUCKING
the greenery slaps at them as they dash headlong through the jungle.
ANGLE
Just as Jake, Lucia, then Corky dash past camera:
QUICK CLOSE
a cannibal leaps into the frame with a victory cry and...
WITH JAKE, LUCIA AND CORKY
as they hear the cannibal's cry.
A RUN BY
Jack, Jake, Lucia and Corky. The off-screen cannibal's cries seem closer.
FAVOR JAKE
The cries are ever closer. Jake stops, shoves Lucia at Corky and grabs the
rifle from him and:
JAKE
Get her out of here!
NEW ANGLE
No time to argue. Corky and Lucia race away. Jack stays with Jake. The
quickest of silent exchange of respect and a cannibal appears. Jake kills
him. Then another is killed. A third cannibal leaps at Jake from an oblique
direction before he can swing the rifle. An off-screen shot kills the cannibal.
INCLUDE SARAH AND MIRASLAVSKI
who has killed the cannibal with a 9mm clip-fed pistol (like the priest's).
JAKE
What are you doing here?!!
SARAH
Leaving!
And all three do just that -- on the run, as the latter fire at random at several
natives who appear to be driven away by the barrage of gunfire.
FAST TRUCKING
Jake, Jack, Sarah and Miraslovski dash along.
WITH THE THREE DEAD CANNIBALS
just killed, as five others come upon them. They scream bloody murder.
Then one gives a different (signal-like) cry. He repeats it. Off screen the
vibrato cries die out to silence.
WITH CORKY AND LUCIA
as they burst out of the jungle and onto the beach-like clearing. They stop,
nearly exhausted, and look about.
INCLUDE THE GOOSE
some distance away down the beach. Yanking Lucia along, Corky races
toward it.
AT THE GOOSE
Princess Koji's power launch has left. Corky and Lucia race up from the
background to splash into the water and to the aft hatch. As Corky starts to
help Lucia into the plane:
JAKE, JACK, SARAH AND MIRASLOVSKI
No off-screen cries now as they race from the background to camera to stop,
nearly exhausted, and in low tones:
SARAH
Maybe they gave up?
JAKE
Maybe.
(beat)
Will you tell me what the hell you're....
SARAH
(overlaps)
I was told to help.
MIRASLOVSKI
Your government learned of my mission.
JAKE
What mission?
MIRASLOVSKI
I am Fedor Miraslovski. Imperial White Army League. Sent to
assist Anastasia Romanov...If indeed that is who she is.
JAKE
She's up ahead somewhere.
And, off screen, the faint sound of the Goose's engines being started. All
react, darting looks around as to zero in on the sound's direction, as:
JAKE
They made it!
(beat)
That way!
And he drags Sarah after him. Jack leads. Miraslovski hurries after them.
ANOTHER ANGLE
as they hurry along.
AT THE LAGOON
as Jake, Jack, and Sarah and Miraslovski break out of the jungle to look
about -- and we see the Goose a good distance away. They start toward it.
AT THE GOOSE
It is untethered, riding in the water, ready for instant takeoff.
IN THE GOOSE
Corky is at the controls. He sees Jake and the others approaching from far
down the beach. A grin of relief and he starts to swing the Goose around as
to taxi across the water.
ON THE BEACH
as Jake, et al., run along. Then several cannibals burst from the jungle onto
the beach, between the Goose and Jake.
FAVOR THE CANNIBALS
who start toward Jake, et al., on the run. The Goose skims along toward
them. Now several more cannibals appear. Too many to try and kill before
being overrun.
THE GOOSE
glides toward the threatened slaughter.
WITH JAKE, JACK, SARAH AND MIRASLOVSKI
with no other recourse:
MIRASLOVSKI
I'll try to slow them down! Get her to the plane!
Jake hesitates but has no choice. He picks up Jack and he and Sarah splash
through the surf toward the Goose as it closes ground. Spears knife into the
water near them. Miraslovski fires carefully at the cannibals.
Intercuts to suit:
CORKY
works the Goose close enough for Jake to grab hold of a wing pontoon and
Sarah, who now clutches tight to Jack. More spears are hurled at them -- all
misses, but close.
QUICK MIRASLOVSKI
is overrun.
JAKE AND SARAH
scramble aboard the Goose as it continues on out of harm's way.
FULL - THE GOOSE
skims on away for a takeoff to climb ever higher and wing its way back to
Boragora, as:
JAKE'S VOICE
Boragora's not a bad place to stop at for a while....
EXTERIOR BORAGORA - NEAR THE CLIPPER - DAY
Passengers are boarding. Nearby Jake is talking to Lucia who is about to
board.
JAKE'S VOICE
...to let life sort of ease around you.
JAKE AND LUCIA
There is a clear sense of mutual respect and liking; a kind of affection born
of shared dangers.
LUCIA
(vague amusement)
Somehow I have the feeling life doesn't 'ease around you' very
much of the time.
JAKE
You know what I mean.
LUCIA
Yes, I know what you mean. And I would like to stay very much...
(meaningful)
I would like to hear your 'long story.' But I cannot. I have to go.
(vague challenge)
As you feel you must stay.
JAKE
It's not a must. I like it here.
LUCIA
(small shrug)
We each have a reason for what we do.
JAKE
I hope you find your answers.
LUCIA
I hope you find yours.
(beat)
Goodbye, Jake Cutter.
JAKE
Goodbye, Anastasia.
While each might prefer at least a kiss on the cheek, they settle for a warm
handshake. Then Lucia turns to join those boarding the Clipper. Hold, then:
EXTERIOR THE CLIPPER - STOCK
as it streaks away for a takeoff.
Intercut:
JAKE
watching.
FEATURE SARAH
watching Jake, empathetic (but she'd never let him know). Now he turns and
sees her. They fall in step and head toward the Monkey Bar.
SARAH
Tough.
JAKE
What's that?
SARAH
You missed being a postscript in history.
JAKE
Story of my life.
SARAH
If it'll help...I'll buy you a beer, kid.
He looks at her and just as their grins begin we freeze frame for:
FADE OUT
_THE END_