_ACT ONE_ FADE IN BUKATARI ISLAND - DAY - ESTABLISHING Rocky, jagged beaches; dense jungles; boas and shrieking birds. No sign of man, but then there's no particular reason man would want to be there. The day is overcast and a heavy wind is kicking up. A hell of a storm is about to hit. EXT. BEACH - DAY The wind blows sand across the craggy beach. The camera tracks and begins to pick up detritus from an old shipwreck. Though very scarred by time and elements, we can see a lantern, the remains of a lifeboat, a boot, finally a life preserver. Half-buried in the sand, all we can read are: H.M.S. ANOTHER ANGLE - A LARGE APE carrying a bunch of bananas, moves quickly along the beach. Looking at the rolling clouds, he senses the impending storm. The ape heads inland from the beach. CUT TO THE APES' LAIR - DAY A Series of caves in the side of a volcanic mountain. The caves, amphitheater-style, surround a grassy open area. Here we see more detritus from the wreck - - an old trunk, picture frames, rope. Young apes play amidst the wreckage, indifferent to the coming storm. THE APE with the bananas enters and moves through the open are towards one of the caves. Before he reaches it, another, larger ape jumps down from above, blocking his path. The larger ape, screeches and extends his paw for the bananas. The smaller ape retreats with a threatening yell. ANGLE - THE LARGER APE intends to get those bananas. He moves after the smaller ape, backing him into a corner. Again, he extends his paw. The smaller ape again refuses, screeching a loud warning to be left alone. The large ape, uncharacteristically to his species, grabs the end of a broken oar and using it like a club, attacks the smaller ape. ANGLE - OTHER APES gather to watch. THE SMALLER APE drops the bananas and is able to avoid the first couple blows. Finally, one connects across the side of his head. He goes down, dazed but not out. THE LARGER APE raises his club in triumph, yells, then turns to pick up his booty. The other apes move out of his way. The victor gets only a few steps away, however, before a crushing blow sends him to the mat. THE SMALLER APE now stands over his foe, brandishing a hatchet. The larger ape lies wounded, semiconscious on the ground. THE OTHER APES begin to move and screech nervously. THE SMALLER APE slowly raises the deadly weapon over his head to deliver the coup de grace. The other apes fall silent in anticipation. Just as the smaller ape is about to bring the hatchet down, a lone, high-pitched yell fills the air. All the apes look up the hill of caves to the sound of the yell. THE SMALLER APE'S POINT OF VIEW - ONE OF THE CAVE MOUTHS is covered with a grass curtain. Behind it we can roughly make out a small, crouching form. The form repeats its yell. THE SMALLER APE protests. He didn't start the brawl. He poises his hatchet again, but another high-pitched yell comes from behind the curtain. The smaller ape looks panicked as: THE BEADED CURTAIN is pulled quickly open by the blade of a sword. Firelight steams out from the cave. THE SMALLER APE immediately backs off and drops the hatchet. The other apes jump up and down, honoring their fearsome leader. As their movements and voices rise to a crescendo, the rain begins to fall. THE BEADED CURTAIN closes with a jingling whosh. CUT TO EXT. GOOSE - DAY In the midst of the storm, it gamely struggles to fly. Wind and rain buffet the Goose. JAKE (v.o.) Bastille Day. Very much like the Fourth of July. Sure the food's different and so's the hooch. There's no afternoon baseball. But the spirit's the same - that's what counts. They're both one hell of a party. INT. GOOSE Jake and Corky are tensely involved in keeping the Goose airborne. Standing behind them is Sarah, intently watching the dials. JAKE (v.o.) We were going to the party. On Tagataya. Guests of Louie and the colonial governor. Today they'd close their eyes, take a sip of something made at home, and imagine themselves on the other side of the world. ANGLE - JACK is in his please-return-to-your-seats place at the back of the plane. Next to him is a case of French pate. JAKE (v.o.) I was happy to do my part - namely bringing in a case of port. RESUME JAKE AND CORKY and they continue to fight the storm. JAKE (v.o.) If I were cynical, I might suspect we got our invitation to insure my bringing the pate. It was definitely the kind of weather a responsible pilot avoids. SARAH Are we in trouble? JAKE No. SARAH (indicating Jack) If we're not in trouble, how come he's back there? JACK It's warmer. Right Jack? Jack barks "no." SARAH Jake Cutter, I do not need to be protected from bad news. JAKE Okay. I just didn't want to upset you. SARAH Upset me? At that moment a whip-like crack of lightning hits the nose of the plane. SARAH Don't tell me. JAKE (checking his instruments) We're dropping. INSERT - THE ALTIMETER The Goose begins dropping quickly. RESUME JAKE, CORKY, AND SARAH Jake turns to Corky. JAKE What's our location? CORKY (worried) You really need our location? JAKE (checking the altimeter) Yes, I really need our location. Corky begins to study his map. SARAH What's that all about? CORKY Jake things we're going down. SARAH Going down? JAKE You asked. CORKY (pointing on map) Hey, maybe we'll be okay. We should be over Bukatari. JAKE (nodding) Natives fish on the Tagataya side. CORKY As long as we don't hit the far side. SARAH What's on the far side? CORKY Apes. SARAH Apes?! Jake looks at her. SARAH I know. I asked. JAKE Corky, call a mayday. Corky reaches for the radio. SARAH I don't care for apes. You both know I don't care for apes. CORKY Jake. Better try and keep her in the air. JAKE What do you think I'm trying to do?! (beat) What do you mean? CORKY Radio's out. SARAH Of course. Anything else? CORKY (pointing) Look..... THEIR POINT OF VIEW - THE ISLAND OF BUKATARI appears through a break in the clouds. It is dark, jagged, foreboding. RESUME JAKE, SARAH, AND CORKY as they study the island. Corky and Jake look at one another. JAKE AND CORKY (simultanteously) The far side of the island. EXT. GOOSE - DAY as it drops toward the island. INT. GOOSE Everyone is buckling in for the landing. Jake looks at: THE ALTIMETER It is near zero. RESUME - JAKE as he girds himself to land. JAKE Hold on ... EXT. GOOSE - DAY Skipping the water. INT. COCKPIT - DAY Jake holds onto the wheel with all he's got. EXT. LAGOON - DAY - THE GOOSE hits the water hard and barrels toward shore. INT. COCKPIT - EVERYONE braces themselves. THEIR POINT OF VIEW - THE BEACH rushing towards them. JAKE tries to turn the plane, but: THE GOOSE skids up onto the beach. CLOSE - A PONTOON shatters, abruptly stopping the Goose. INT. COCKPIT - JAKE AND CORKY react to the bump. CORKY You thinking what I'm thinking? JAKE Lost a pontoon. (turning to Sarah) You okay? Shaken, she nods. JAKE Jack? He barks "no." Jake sighs and looks out the window. HIS POINT OF VIEW - THE ISLAND covered with dense jungle. It is just as mysterious, just as foreboding. CLOSE - JAKE as he wonders what lies ahead. CUT TO EXT. PRINCESS KOJI'S TEA HOUSE - DAY Here the weather is fair as Todo and several of his guards roughly escort three men. They are Halliburton, an Englishman, late thirties, who sits in a wheelchair, Jim Hauser and Lucius Cabe, two former merchant marines - American trash who pick up a few bucks doing somebody else's dirty work. They're guys with minds just large enough for a couple of large dreams. Similar guys, Hauser's a little brighter; Cabe, a little larger. INT. TEA HOUSE - DAY The mood is serene as Princess Koji sips her tea, waited on by a female attendant. The three men are escorted in. HALLIBURTON I demand to know the meaning of this. TODO (in Japanese) Silence! But the Princess only laughs. KOJI I'm always impressed by the self-righteousness of criminals. HALLIBURTON I'll have you know, I'm a British subject. KOJI (smiling) You're in the wrong colonies for that. (beat) What brings you to the South Pacific? ANGLE - A SLIM ELEGANT SNAKE appears next to Koji's table. It slithers across a cushion. HALLIBURTON notices. His eyes widen but only for a moment. KOJI Let me be more specific. What were you doing in my waters? HALLIBURTON (contemptuously) Your waters?! HAUSER (scared) Fishing. We're fishermen. Princess Koji again laughs. KOJI Your boat contained no fishing gear whatsoever. Do you use your hands? HALLIBURTON We were on our way to Bukatari. TODO Bukatari? Todo laughs. These men must be crazy. THE SNAKE slithers toward Halliburton. KOJI (o.c.) There's nothing on Bukatari but a few apes. HALLIBURTON (eyeing the snake) That's what interests me. I'm a zoologist. KOJI You should have gone to Tamarari. There are many apes and the island is more ... hospitable. The snake slithers still closer. HALLIBURTON (fearful of the snake) I'm interested in the Bukatari species. KOJI Same species. There is no response. Koji gestures for her cup of tea. KOJI Perhaps you're also a herpetologist. She nods to Todo, who with lightning speed grabs the snake just behind its head. KOJI The Marivella Mamba - genus Dendraspis. Tres dangereuse. Todo brings the snake next to Halliburton's neck. The snake hisses and spits - it's ready for blood. But Halliburton won't talk. Sweat beads on his forehead. KOJI (eyeing the others) I'm sure one of you gentlemen will oblige me me. We have more than enough snakes. HAUSER (breaking) We're after game. Not apes. KOJI What? HALLIBURTON (breaking in) Something of definite value. If it's money you want ... KOJI Ah, the key to my heart. Todo pulls the snake back from Halliburton's neck. HALLIBURTON I have two hundred pounds in my hotel. KOJI Five hundred pounds will cover exploration rights. Plus fifty percent of the market value of your catch. HALLIBURTON I haven't got five hundred with me. KOJI Then we'll wire for it on Tagataya. Meanwhile, your employees and mine can go to Bukatari. (beat) Is this acceptable? Halliburton doesn't answer. She smiles. KOJI You see, with good faith it's always possible to reach an agreement. CUT TO EXT. BEACH - DAY The one from the opening scene. The storm has now passed. The Goose sits lopsided on the sand. Jake, Sarah, and Jack sit outside. Jake examines the ancient, rusty lantern. Corky exits the Goose, cradling an armful of pate tins. JAKE (dropping the lantern) How's the radio? CORKY (shaking head) Tubes are blown. There's nothing I can do. (inspecting the pate) Anybody hungry? JAKE Better save it for the trip. SARAH Trip? Oh no, I've had enough of your trips for one day. Thank you very much. JAKE (inspecting his revolver) We have to get to the Tagataya side. The fishermen are the only people here. SARAH This island is inhabited by apes. As far as I'm concerned that's the worst recommendation for crossing it. JAKE Sarah, the Goose is out. The radio's out. We've got no water and nothing but pate to eat. Nobody knows we're here. Nobody's looking for us. (beat) What do you suggest we do? Sarah doesn't answer. JAKE I'm heading for the Tagataya side. I think all of us should, there being a certain safety in numbers. However, if you want to stay here, you may. SARAH Thanks for the Bill of Rights. (to Corky) Are you gonna go tramping through that jungle? CORKY (sheepish) Uh, I'm gonna want more than pate pretty soon. Sarah turns to Jack. SARAH You like pate, don't you, Jack? Jack barks "yes." SARAH Good boy, what do you say we stay here together? Jack barks "no". Sarah frowns. JAKE (indicating a path) Shall we ... He starts off. ANGLE - CORKY AND JACK as they follow Jake. JAKE Sarah, I wouldn't worry about any apes. They're pretty harmless. You don't bother them, they don't bother you. She gives him a wary scowl. ANOTHER ANGLE - A LARGE APE watches our heroes from the cover of brush. In his paw is the oar club. Slowly, methodically, the ape beats the club against the ground. This is one ape that just might bother you, regardless. CUT TO EXT. TAGATAYA WHARF - DAY The wharf is decorated for Bastille Day. A nearby band plays patriotic music. People are well-dressed and partying everywhere. Almost everyone has a bottle of champagne in his hand. The camera pans to show some of the few who are not celebrating: Halliburton, Todo and Koji who watch as: CABE, HAUSER AND TODO'S RETINUE board Halliburton's boat. Cabe prepares to cast off. TODO bows to Koji and leaps aboard the boat. She turns to Halliburton. KOJI You're fortunate I'm so well connected. No one else could conduct banking on Bastille Day. She indicates for Halliburton and her guards to follow her. Halliburton casts a brief nervous glance at the boat, then follows. ANOTHER ANGLE - KOJI AND HALLIBURTON leave the wharf, passing Willie and Louie who wait at Jake's mooring. Louie paces anxiously. WILLIE Louie, isn't there some saying about a pot that is being watched and the speed with which it will boil. LOUIE (searching the skies) My pate. My truffle pate. WILLIE He'll be here soon... Willie eyes a couple of beautiful women who coyly twirl their parasols. WILLIE We're missing so much of the ... the festivities. For what? Liverwurst! LOUIE Pate! I promised the Governor there will be truffle pate. ELIJAH (o.s.) Truffle pate. Did I hear truffle pate? Louie and Willie turn to see Elijah Croon, a piece of Liverpool dock slime, now in residence in the Marivellas. Smuggler and fence, Elijah is flithy, scabrous, unctuous. No one you'd want to touch. Elijah steps from his boat onto the wharf. LOUIE Elijah, I thought you were in prison. ELIJAH No, sir. Not me. Must have me confused with --- LOUIE (finishing) -- Some other criminal. ELIJAH Mow, Mr Louie, is that any way to talk to a man who can help you vis-a-vis this pate. LOUIE (waving him off) You wouldn't know pate if it kissed you. ELIJAH (extracting a tin from his pea coat) This wouldn't happen to be some, would it? He hands the tin to Louie, who, wary of possible germs, takes the tin gingerly. Louie's eyes widen. Mon dieu, it's the real thing. LOUIE Where did you get this? ELIJAH That and the other two cases were the result of some honest negotiations between myself and a local trader down on his luck. LOUIE (thinking) Two months ago the kitchen at the Belgian Legation was robbed. ELIJAH (hand over heart) On my mother's grave, sir. LOUIE Your mother runs drugs in Siam. WILLIE Louie, perhaps we could turn our eye just a bit. For the holiday. For France. Willie eyes two more beauties who're sauntering down the wharf. WILLIE I would be willing to give absolution in case of any moral questions. Louie turns to Willie. LOUIE For France? WILLIE (nodding) For France. Louie turns to Elijah who breaks into a gap-toothed grin. CUT TO EXT. JUNGLE CLEARING - DAY The jungle is thick. From within its denseness, we hear people moving. Finally Jake breaks into the clearing. He is quickly followed by Sarah, Corky, and Jack. They pause to rest. Corky eats pate with a spoon. CORKY I like the little mushrooms. (to Sarah) Want some? She shakes her head, disgusted. Jack growls. JAKE (to Sarah) Come on, you two, it's not so bad. SARAH Oh no. Mosquitoes, snakes, quicksand. Jack continues growling JAKE No apes. Spoken to soon. A large, weaponless ape drops in front of them from out of the brush. Sarah screams. The ape starts advancing. JAKE pulls his pistol as he and the others back off. Jack barks for all he's worth. THE APE continues advancing. It growls menacingly. JAKE holds his pistol in the air and fires a warning round. The apes screeches and suddenly all hell breaks loose. Another ape swings in on a vine and smashes Jake's gun hand with a club. The pistol flies into the brush. SEVERAL MORE APES crash through the brush. They are also wielding clubs. CORKY What's going on?! SARAH I hate apes! And that's the end of conversation. Jake and Corky are set upon by the gang, while Sarah is grabbed by the first ape and two helpers. LOW SHOT - JACK snips and bites at the hairy legs, but to no avail. JACK AND CORKY are beaten down by the raining blows. SARAH struggles against the apes, but her strength is no match for theirs. JAKE AND CORKY out of commission, are left by the other apes. THE THREE APES carry off a screaming Sarah. Jack's at their heels, but one good swipe sends him back, reeling. Jack picks himself up and runs to Jake who's out cold. He paws Jake furiously. Get up you bastard! No luck. In the distance we hear Sarah's screams recede. FADE OUT _END OF ACT ONE_ _ACT TWO_ FADE IN EXT. JUNGLE - DAY Sarah, still struggling and screaming, is carried by the three apes. SARAH Let me go! Let me go! They pass through the brush into: EXT. APES' LAIR where all are assembled, awaiting the captive. CLOSE - SARAH Her face expresses growing horror at the company. SARAH Oh no. THE APES drop her. Sarah grunts, hitting the grass, and tries to pick herself up. At the same time, there is increased screeching from the assembled apes. Before Sarah can look at what they're reacting to, she is knocked down by the large ape into a position of supplication. SARAH Leave me alone! You big --- But her words freeze as she sees before her: HER POINT OF VIEW - A TWELVE-YEAR-OLD CAUCASIAN BOY stands before her. Blocked from the waist down by a rock, he has shoulder- length and earth-tone pigments daubed on his body. In his hand he holds a sword. RESUME - SARAH not believing. SARAH Oh my. THE BOY moves forward. He is naked. Some of Sarah's sensibilities are intact. SARAH Oh my! The Boy makes an ape-like grunt. SARAH (overcoming her shock) Who are you? The Boy says nothing, he only studies her. SARAH Are there others here? No response. SARAH Other people? Still no response. SARAH Do you speak English? The Boy moves closer to her. Behind him, a large female gives a warning screech, but he motions her to silence and continues to approach. Sarah swallows, not understanding a goddamned thing. SARAH Where are your parents? You mother ... madre ... mere ... The Boy touches Sarah's hair. She recoils and: THE APES move to keep her where she is. They growl menacingly. SARAH freezes. SARAH Okay. Okay. The Boy touches her hair, then her face. He outlines her eyes, nose, mouth, then repeats the action to himself. SARAH Go ahead ..that's all right. (beat; quiet) I need help. Do you understand? But the Boy is oblivious to her needs. He touches the collar of her dress. His finger moves down the front of her dress. She watches him carefully. The Boy moves his finger and touches his own bare chest. CLOSE - THE BOY Something very deep, very primal and visceral is stirring within him. He yells out an instruction to the apes, turns, and exits. SARAH sits stunned. SARAH Where are you going? There is no answer. SARAH Wait! Don't go! She stands and is immediately surrounded by the apes. Obviously, their instructions were not to let herleave. CLOSE - SARAH at a total loss. SARAH Come back! Please! CUT TO INT. CAVE - DAY The cave contains more of the ship's wreckage. A fire lights the space. The beaded curtain swishes as The Boy enters. He puts down his sword and moves to a battered steamer trunk. He opens it. INSERT - THE TRUNK filled with tattered clothing and bedding. Also a few toilette articles. THE BOY reaches into the trunk and pullsout a cracked hand-mirror. He looks at his reflection. CLOSE - THE BOY Tracing his features in the mirror, he realises his kinship to the woman outside. He reaches into the trunk and pulls out a tattered pair of sailor's bells. Then he gingerly extracts a crumbling leather album from the trunk. Opening it, he sees: A PHOTO of a young dark-haired woman, circa 1925. She holds a baby in her arms. CLOSE - THE BOY studies the photo, his emotion building. A tear falls from his eyes; he touches it, studies it. His emotion continues to build. He opens his mouth and wails in anguished confusion. The sound continues, blending with and becoming the cawing of a tropical bird. CUT TO EXT. JUNGLE - DAY The bird continues to caw. Jake and Corky, battered but not broken, search on all fours for Jake's gun. Jack watches. CORKY I never saw a monkey use a club, Jake. (beat) You sure it's here? JAKE (pointing) He came at me that way. The gun had to have been knocked over here. (beat) Somebody musta taught 'em. CORKY Who'd wanna do that? (beat) I don't see it, Jake. Jack barks and moves several yards farther away. CORKY See, we're looking in the wrong place. JAKE Corky, laws of physics do not change 'cause of Jack, (to Jack) Come over here and help us. Jack doesn't move. CORKY We could try ... JAKE (throwing up his hands) Okay. Okay. (to Jack) You're saying you know where it is? Jack barks "yes." JAKE Okay, wise guy, find it. Jack dips his face into the grass and comes up with the gun in his teeth. TWO SHOT - CORKY AND JAKE Jake is totally exasperated. CORKY Jake, what laws of physics was that? Jake gives him a withering glance. CUT TO EXT. APES' LAIR - DAY Sarah, still surrounded by the apes, waits on the ground. She stares at the large one who grabbed her. SARAH You wait. It's the Museum of Natural History for you. The ape, indifferent to her threat, swats a fly from his face. Suddenly all the apes turn. THEIR POINT OF VIEW - THE BOY approaches, carrying a photo. He now wears the tattered bell-bottoms which are a tad too large. ANOTHER ANGLE as The Boy approaches, he is intercepted by a large female who earlier tried to warn him from Sarah. She again gestures for him to stay away. In ape language, he protests and pushes forward. The female grabs at his trousers as if to pull these tainted things off. The Boy swats her hand away and approaches Sarah. TWO SHOT - SARAH AND THE BOY She rises to greet him. SARAH (appreciating the clothes) Much better for entertaining. He's indifferent to the compliment as he again studies her. After a moment, the Boy proffers the picture of the dark-haired woman. Confused, Sarah takes the photo. She looks from the picture to The Boy. SARAH Who is she? His mouth slowly opens. THE BOY Ah... (beat) Ah... (beat) Ahhhhhhhh. Behind him, the female ape howls. Sarah ignores her, focusing on The Boy. SARAH Is she your mother? (beat) Mother? (slowly) Moth-er. THE BOY Ahh ... ahhhhhhhhh. SARAH Mama? (slowly) Ma Ma? THE BOY Mahhh ... mahhh ... (beat) Ma ma. Ma ma. Mama. (more certain) Mama. Mama. THE FEMALE APE wails. RESUME SARAH AND THE BOY He reaches a hand toward her. SARAH You can talk, can't you? THE BOY Mama. The large female charges in, screeching. She grabs The Boy, besseching him to leave the woman alone. The Boy throws her off and barks out some orders. OTHER APES move in to keep the female at bay. THE BOY returns his attention to Sarah. THE BOY Mama. He throws his arms around Sarah's neck. Sarah is taken aback, but does not remove his arms. THE BOY Mama. He pulls back and smiles at her. His eyes are tearful but beaming. Very slowly Sarah shakes her head. SARAH No ... I'm sorry ... THE BOY Mama. SARAH I'm not your mother. THE BOY Mama. Mama! SARAH (shaking her head) No. (indicating picture) That's your mother. My name's Sarah. Sarah White. THE BOY Mama! Mama! He again tries to embrace her, but Sarah moves back. SARAH I'm sorry. The Boy raises his head and wails at the heavens. THE LARGE APE who'd abducted Sarah picks up a club and moves toward her. But before he can strike, a shot rings out. He and the others look toward: JAKE, CORKY AND JACK who stand a few yards away. Jake has fired a warning shot. SARAH Jake! The large ape runs to attack Jake. JAKE takes aim to fire, but: THE BOY barks an order and: THE LARGE APE stops. He protests to the Boy who cuts him off. The large ape drops the club. CORKY Hey, Jake, did you see that? The Boy studies Jake a beat, then wallks over to him. JAKE AND CORKY study this strange young man. CORKY Hiya, kid. Nice work. The Boy ignores Corky, putting his hand to Jake's chest. CORKY What's he want? THE BOY (to Jake) Papa ... as Jake and Corky exchange looks: CUT TO EXT. BEACH - DAY Hauser and Cabe's boat is beached. Cabe and Todo's men are unloading the gear for their hunt: nets, ropes, hunting rifles and shotguns. ANOTHER ANGLE - TODO watches the unloading. Hauser studies a map of the island. TODO A child raised by apes - preposterous. Hauser only shrugs. TODO You believe it? HAUSER It pays the rent. TODO Many myths about these islands. Your employer ... Todo taps his forehead. HAUSER Maybe. TODO Why does he want The Boy? HAUSER You kiddin'? The big top. Todo doesn't understand. HAUSER The circus. Freak show. People pay a fortune to see that kinda thing. TODO The occidental mind... (again tapping his head) HAUSER Sure. Not like sumo wrestling. That ain't no freak show. TODO (reaching for his sword) A test of skill! HAUSER Take it easy. Take it easy. I don't care about either one. Todo eyes him a moment, then withdraws his hand from his scabbard. Beat. TODO If there is a boy, he won't come easy. These apes - they protect their own. HAUSER Don't matter to me. (patting his side arm) Even dead I'm a few bucks ahead. Todo turns away in disgust. He doesn't like this man. FADE OUT _END OF ACT TWO_ _ACT THREE_ FADE IN INT. CAVE - DAY The curtain is open. Jake and Sarah examine The Boy's steamer trunk. He watches nearby. SARAH He must have been shipwrecked. But a long time ago. These things are so old. He has so little language. JAKE An English ship went down near Bukatari. About ten years ago. Nobody was thought to have survived. SARAH Ten years. He must be about twelve now. (beat) My God, Jake, do you realize, he was raised --- JAKE (finishing) -- by apes. At this moment: CORKY enters with Jack. The Boy moves back. CORKY There's no radio. But we didn't look very long. These apes aren't too friendly. The Boy suddenly growls. He continues to back away. CORKY (to The Boy) No offense. But The Boy remains fearful. He motions to Jack and growls. Jake approaches The Boy. JAKE He won't hurt you. That's Jack. He's a dog. You never saw a dog? The Boy just stares at Jack who cocks his head, puzzled. JAKE (to Jack) Come here, Jack. Jack trots on over; The Boy stiffens. JAKE It's okay. (to Jack) Show him, Jack. Jack, also a little apprehensive, doesn't respond. JAKE Come on, Jack. Lie down. (beat) Act like a dog for once in your life. Jack eyes Jake, considers, then sits. That's as far as he'll go. CORKY Better'n nothing. THE BOY is amazed by this behavior. He relaxes, but stays where he is. JAKE Go ahead. Pet him. SARAH Like this. Sarah moves over to Jack and pets him. The Boy is now intrigued. JAKE Go ahead. He won't hurt you. Beat. The Boy looks from Jake to Corky to Sarah. CORKY You might not get another chance. The Boy moves to Jack and slowly extends his hand. SARAH That's right. The Boy touches Jack's chest, first tentatively, then affectionately. He breaks into a smile. JAKE Jack's a dog. (beat) Dog. THE BOY (slowly) Daahhg. (beat) Dog. Suddenly The Boy looks concerned. Jack is licking his hand. He watches, amazed. JAKE That means he likes you. SARAH He won't do that to just anyone. CORKY Especially Jake. THE BOY Dog. Dog. JAKE (pointing to boy's chest) And you're a boy. (indicating himself, Sarah and Corky) We're people... men. So are you. The Boy doesn't understand. JAKE Men. SARAH (correcting) Humans. The Boy's face is blank. JAKE (standing) I'll show you. ANOTHER ANGLE - JAKE walks to the mouth of the cave. JAKE (gesturing) Come here. After a moment The Boy comes to him. Jake points out of the cave. JAKE Those are apes. HIS POINT OF VIEW - THE APES eat and play below. RESUME JAKE AND THE BOY as Jake indicates those in the cave. JAKE We are people. Human. (point to The Boy) You are a human. The Boy points outside, then touches his chest. JAKE No. You are one of us. Jake points to Sarah and Corky, then touches his own chest. The Boy watches him closely. He repeats the action on himself. JAKE That's right. You are one of us. The Boy stares outside, then whips back to Jake. He points to the apes, touches his chest, then points to Corky and Sarah and touches his chest. Confused, The Boy makes strange, plaintive sounds. SARAH We're different. JAKE (indicating) You are one of us. The Boy shakes his head, continuing to make the sounds. CORKY Maybe it's too much for him. The Boy points from the apes to himself to those in the cave. He is confused, upset. Sarah comes up to comfort him. SARAH It's all right. But The Boy, overwhelmed, pulls away from her. He stares at them a moment, then runs from the cave. Sarah looks after him. CORKY (o.s.) I don't blame him Sarah and Jake turn to Corky. CORKY We just told the kid he's adopted. (beat) How'd you feel? Sarah and Jake exchange looks. CUT TO EXT. APES' LAIR - DAY The Boy runs down from the cave. He watches: THE APES grooming each other, playing. THE BOY realizes he is not really one of them. He is very distraught. He turns, seeing: THE FEMALE APE His foster mother. She extends comforting arms. THE BOY distraught and repulsed, backs away, then runs off. THE FEMALE APE hurt to the core, looks up toward the cave. HER POINT OF VIEW - JAKE AND SARAH stand in the cave's mouth, looking down. CLOSE - THE FEMALE APE Her eyes burn with hatred. CUT TO EXT. JUNGLE - DAY - CLOSE - SEVERAL GRAVES Their crosses made from shipwreck items. They are old and askew. A single stone tablet, crudely etched reads; "H.M.S. REGINA - 1928 - R.I.P." Camera widens to show Hauser and Todo studying the graves. Cabe and the others come up behind them. HAUSER (to Todo) You know the ship? TODO (nodding) A hurricane. The Regina hit the coral reef surrounding Bukatari. No one was thought to have survived. HAUSER Surprise. Surprise. Maybe there was a kid. A baby. TODO Impossible. HAUSER We'll see. (to Cabe) Somethin' tells me this is gonna turn out okay. He signals to move out. EXT. TAGATAY WHARF - DAY The celebration's still in full swing. Louie stands at Jake's mooring. He looks anything but festive. He gazes: OUT TO SEA - THE SKY is empty,practically cloudless. WILLIE (o.c.) There you are ... LOUIE turns to see Willie approaching. The latter holds a champagne bottle and two glasses. WILLIE The pate is a big success. Louie nods. He's not particularly concerned. Willie pours a glass of bubbly. WILLIE Champagne? Louie nods. Willie hands him the glass and pours one for himself. LOUIE You're not enjoying the Governor's party. WILLIE Ja. Very much. I just wanted some air. Louie nods. LOUIE Vive la France. WILLIE (with difficulty) Vive la France. They both drink. Beat. WILLIE Are you worried about Jake? LOUIE Me? No. I'm sure they're fine. (beat) You? WILLIE No. No. I'm sure you're right. LOUIE So many things could have delayed them. WILLIE Ja. Of course. LOUIE (beat) They should have been here four hours ago. WILLIE Five. But who's counting? LOUIE (beat) I don't know...this Bastille Day...it just isn't the same. WILLIE Ja. Willie regards a pair of lovely women who are passing. WILLIE Such a shame. The two men look at one another, their worry deepening. CUT TO EXT. BEACH - DAY where the Goose is beached. The Boy, consumed by his quandary, walks over to the disabled plane. He touches the foreign thing, tries to make some sense of it. He turns to the side and sees: LIFESAVER protruding from the sand. THE BOY goes over to the lifesaver, this relic from his human past. He stares at it, then out to sea. He moves closer to the water. HIS POINT OF VIEW - THE WATER from whence he came -- a creature straddling two worlds, a freak. CLOSE - THE BOY - His sense of himself gone. Tears well up in his eyes. He drops to his knees, crying. The crying builds to sobs; The Boy buries his face in the sand. ANOTHER ANGLE - JACK tentatively approaches The Boy. He offers a consoling bark. The Boy looks up, his face tear-stained, embarrassed. He motions for Jack to leave him alone, and again buries his face in the sand. Jack comes closer. He licks the side of The Boy's face. The Boy looks up again. He stares at Jack, this dogged canine friend, and cannot help a slight smile. Jack barks in appreciation. The Boy extends his hand and Jack licks it. Suddenly, though, Jack cocks his head, listening. He starts to growl. THE BOY looks up anxiously. Almost immediately, a net falls over his head. WIDE - THE BOY struggles against the net that has been thrown by Hauser. Immediately, Cabe and Todo's men rush up to subdlle The Boy with ropes. Todo watches. CLOSE - THE BOY tries to bite and claw his captors through the net. Cabe yells, withdrawing a bitten hand. LOW - JACK also does his bit, working on the captors' ankles. WIDE ON SCENE The unevenness of the struggle begins to tell. The Boy is increasingly bound. JACK realizes the hopelessness of the situation. He takes off for reinforcements. TODO watches Jack flee. Hauser moves from the subdued Boy to Todo. HAUSER Impossible, huh? Todo says nothing. HAUSER (indicating Goose) You know anything about this? TODO I know the owner. (beat) A perfect place for him to crash. It will be a pleasure never to see him again. Hauser doesn't understand Todo, but then he doesn't particularly care. Cabe comes up, rubbing his hand. CABE The kid bit me. He's gonna regret it. HAUSER Yeah. Who knows where that hand's been. Hauser signals to the others. HAUSER Let's get back to the boat. WIDE as the party moves out. The child squirms helplessly in his ropes. INT. CAVE - DAY Sarah, Corky and Jake wait for The Boy's return. Jake checks his watch. JAKE We need to get to the other side before nightfall. SARAH What about The Boy? Jake doesn't reply. SARAH We can't leave him here. JAKE (shrugging) I'm not so sure. SARAH (incensed) He's a child. A human being. JAKE He's a child that was raised by apes -- who lives with apes. SARAH But he's human. He knows he is. JAKE Sarah, you saw him just now. SARAH I also saw him earlier. When he thought I was his mother. JAKE He's had none of the experiences of a boy his age. What kind of life will he have? How will he adapt? SARAH We don't have the right to make that decision for him! JAKE Do we have the right to take him to a world he doesn't know...doesn't understand. SARAH We can't deprive him of a chance to learn! A chance to be human! CORKY Can I say something? They both turn to Corky. JAKE SARAH What?! What?! CORKY (beat) How 'bout we let him decide. Jake and Sarah hadn't thought of this. They look at one another. Beat. JAKE Okay by me. At this moment, we hear barking. Everyone turns to see: JACK in the doorway. He indicates for the others to follow. SARAH, JAKE AND CORKY come over to Jack. JAKE What is it, Jack? SARAH The Boy? Jack barks "yes." JAKE Is he in trouble? Again Jack barks "yes," and exits. Sarah, Jake and Corky follow. EXT. APES' LAIR The three follow Jack out of the cave and down the hill. None of the apes are there. ANOTHER ANGLE as our heroes reach the flat area at the bottom. CORKY Where is everybody? He is answered by a venomous shriek. The large female appears out of nowhere, blocking their path. Hearing another shriek, our heroes turn: THEIR POINT OF VIEW - THE APE that Jake had almost shot now stands behind them. In his paw is a hatchet. RESUME JAKE, SARAH AND CORKY as they take in the scene. Jack barks furiously. CORKY Jake, what do they want? JAKE Take a mother's child away -- she fights back. As if agreeing, the large female shrieks. The other ape advances. Jake pulls his gun. The ape hesitates. THE LARGE FEMALE encourages him to attack. THE OTHER APE again advances. Jake fires several times at his feet, kicking up dirt. The ape flinches and backs off, dropping the hatchet. Jake wheels toward the large female, aiming the gun at her. She jumps up and down, screeching, but is not willing to attack. JAKE Come on. Our heroes leave the lair, backing away from the large female. CLOSE - THE LARGE FEMALE howls and takes off into the brush. CUT TO EXT. BEACH - DAY Hauser, Cabe, Todo and his retinue, who carry the trussed Boy, head toward Halliburton's boat. In the distance there is the faint sound of barking. Todo turns his head: HIS POINT OF VIEW - THE JUNGLE at the edge of the beach. No sign of any trouble. TODO shrugs and turns back around. As the party approaches the boat: CUT TO INT. JUNGLE - DAY - TRACKING Jack, barking, leads Jake, Sarah and Corky through the jungle. ANOTHER ANGLE - JACK stops. The others follow suit. THEIR POINT OF VIEW - THE BEACH can be seen beyond the jungle. OUR HEROES move closer to the edge of the jungle. THEIR POINT OF VIEW - HALLIBURTON'S BOAT The trussed Boy is carried on board. Todo directs his men. RESUME OUR HEROES CORKY Princess Koji's involved. Sarah starts to move forward. SARAH She shows up like a bad penny. JAKE (stopping her) This is her island. We can't stop them here. CORKY (pointing) Look.... THEIR POINT OF VIEW - THE LARGE FEMALE APE charges the boat from another point in the jungle. ON BOARD - HAUSER notices her charging. He nudges Cabe, who breaks into a grin. CABE Huntin' season. Cabe picks up a rifle, aims and fires. THE LARGE FEMALE is hit in the chest and blown away. THE BOY wails in his bounds. TODO has seen the shooting. He turns away in disgust. HAUSER nods to a smiling Cabe. HAUSER Not bad. The two turn away and head below. OUR HEROES are stunned. Jake turns to Jack. JAKE Stay with him. Jack takes off toward the boat. OUR HEROES watch with bated breath. Luckily: JACK is not seen as he jumps aboard. OUR HEROES heave a sigh of relief as: HALLIBURTON'S BOAT puts to sea. FADE OUT _END OF ACT THREE_ _ACT FOUR_ FADE IN EXT. OCEAN - DAY The sun rises. EXT. TAGATAYA DOCK - DAY Halliburton's boat is docked. ON THE BOAT - HAUSER AND CABE stand next to The Boy. Cabe taunts him with a stick. CABE (laughing) You'd like to get your hands on me, wouldn't you? The Boy snarls and strains, but to no avail. Cabe whacks him with the stick. CABE A few more days with me -- you'll settle down. Just then a hand yanks Cabe aside. It is Todo. CABE Hey! TODO Do not damage The Boy. He and Cabe lock eyes for a moment. Cabe backs down. TODO I'll inform Princess Koji of our arrival. You stay here. HAUSER (nodding) Anyway you like it. Todo doesn't trust them. He turns to two of his retinue. TODO (in Japanese) Watch them until I return. The two men nod. Todo turns and exits. Hauser watches him leave, then turns to Cabe. HAUSER The man don't trust us. (quiet) You know why? Cabe shrugs. HAUSER (indicating Boy) What we got here -- it's real valuable. CABE You think we should ask for more? HAUSER (real quiet) I think we should take the whole pie. It takes Cabe a moment to catch on. CABE How? We take off in this boat, they'll find us for sure. HAUSER We don't take off in this boat. I know one we can get cheap. Real cheap. He slowly points down the wharf. THEIR POINT OF VIEW - LONG - ELIJAH CROON stands next to his boat at the far end of the dock. He takes a slug from a hip flask, then wipes his mouth with the back of his hand. RESUME CABE AND HAUSER Hauser nods. CABE (indicating Todo's guards) What about these two? HAUSER (shrugging) Two of them. Two of us. Good odds. Cabe breaks into a smile. Again he nods. LOW - JACK watches the two conspirators from cover. CUT TO INT. RADIO ROOM - DAY The radio room in the colonial governor's office. A French Legionnaire mans a radio. Louie and Willie stand behind him. The Legionnaire receives a message, pulls off his headset, and turns to Louie. LEGIONNAIRE (in French) No SOS. No sightings. Nothing. Louie frowns and turns to Willie. LOUIE No sign of them at all. WILLIE (worried) If they went down in that storm - JAKE(o.s.) They'd be lucky to be alive. Louie and Willie turn to see: JAKE, SARAH AND CORKY in the doorway. They are a mess. They enter the room. WILLIE Gott in himmel! LOUIE Are you all right? SARAH More or less. LOUIE How did you get here? JAKE There's a fisherman outside. You owe him fifty francs for the ride. LOUIE I'll pay it, of course. (beat) Jake, I don't suppose - JAKE (shaking his head) What's left of the pate is on Bukatari Island. CORKY Not quite. He pulls a lone tin from his jacket and hands it to Louie. JAKE Listen, Louie, we got a problem. LOUIE (examining the tin) We all have problems. SARAH Tagataya's under your jurisdiction. We have reason to believe there's a kidnapped child here. LOUIE What are you talking about? JAKE There's no time to explain. Have you seen Jack? Before Louie or Willie can reply, we hear a commotion from outside. LEGIONNAIRE (o.s.) (in French) Here boy! Here boy! Come back here! Everyone turns to see a barking Jack run into the room. A Legionnaire is on his heels. Seeing Louie, the Legionnaire immediately comes to attention. LEGIONNAIRE (in French) I'm sorry, sir. LOUIE (in French) It's all right. He waves the Legionnaire out. Jake turns to Jack. JAKE Good boy, Jack! Do you know where he is? Jack barks "yes." CUT TO EXT. HALLIBURTON'S BOAT - DAY Todo's two guards are out cold on the deck. Todo slaps one, trying to revive him. The camera widens to show the cage is missing. Frustrated, Todo pulls his sword. There is only one punishment for this kind of incompetence. KOJI (o.s.) No, Todo. The camera widens further to show Princess Koji who stands next to Halliburton and a few of her guards. KOJI This is French mandate. Their judicial system is a little different from yours. (smiling) We'll take them back home for that. HALLIBURTON What about The Boy?! We had a deal. KOJI I'm hardly responsible for the treachery of your friends. HALLIBURTON I've paid you money. KOJI And I've kept my end of the agreement. HALLIBURTON Look if we don't find The Boy, all you get out of this are your 'exploration rights.' KOJI Oh, I'll find The Boy. But not for the money. (eyeing the unconscious guards) For this. (to Todo) Who on Tagataya would be foolish enough to help them? As Todo considers.... CUT TO EXT. TAGATAYA WHARF - DAY - ELIJAH CROON'S BOAT Elijah carries a box of supplies down the wharf and places it aboard his boat. CORKY (o.s.) Hey, Elijah.... Elijah turns to see Corky a few feet away, standing in the shadows. Corky motions for him to come over. Suspicious, yet curious, Elijah ambles over. ELIJAH What you want, Mr. Cork? CORKY (looking around) I got something to sell. ELIJAH Look, I really haven't got the time. CORKY (shrugging) Okay. Elijah starts back. CORKY It's probably too much for you, anyway. Elijah stops. His pride is hurt. ELIJAH Too much? Too much for Elijah Croon? (looking around) Whatcha got? Corky pulls out a pocket watch from his jacket. He dangles it in front of Elijah's face. Elijah snatches it. ELIJAH Not so bloody obvious. (examining the watch) Uh huh...Uh huh... (beat) Wait a minute, Cork, it doesn't run. CORKY Course not. You don't expect me to walk around with the goods, do you? Corky nods toward a pile of cargo and moves toward it. Elijah follows him. They move around the side of the cargo, and suddenly: ELIJAH is grabbed by the front of his clothes and racked up against the cargo. Jake has done the racking. Sarah, Louie and two legionnaires stand close at hand. ELIJAH What is this? JAKE Is that boy on your boat? ELIJAH Boy? I don't know anything about no boy? JAKE (to Louie) Give me two minutes alone with him. SARAH Oh no, I want to help. ELIJAH You can't do this to me. (to Louie) Mr. Louie, I appeal to you. LOUIE Not at all. (to Jake) Take him. ELIJAH All right. All right. I'll tell you. CUT TO EXT. ELIJAH'S BOAT - THE STERN out of view of the wharf. The Boy is now in a cage. Cabe taunts him with a carrot. CABE (offering) Hungry? Want it? The Boy eyes Cabe suspiciously. CABE Go ahead. Take it. The Boy doesn't move. Cabe takes a bite of the carrot. CABE Mmmmmm. Good. (offering again) Go ahead. It's for you. The Boy quickly reaches for the carrot, but Cabe just as quickly pulls it back with a laugh. The Boy, enraged, strains against the bars of the cage. HAUSER (o.s.) Ah, leave him alone. ANOTHER ANGLE - HAUSER is nearby, studying charts. HAUSER Come here. Cabe walks over. HAUSER What do you think? Should we head for Honolulu or the Philippines? Just then, they hear a scratching noise from around one side of the hold. HAUSER What's that? CABE (shrugging) Dunno. Again there is scratching. Cabe moves around toward the noise. CABE That you, Elijah? He is met by Jake who leaps forward and swings a bucket straight into Cabe's face. As Cabe drops, clutching a broken nose: LOUIE, SARAH AND A LEGIONNAIRE appear from the other side of the hold. LOUIE (to Hauser) You are under arrest. HAUSER pulls his sidearm and fires. The legionnaire goes down, wounded in the shoulder. Louie and Sarah duck for cover as: JAKE throws himself on Hauser. The gun goes flying overboard. The two begin to struggle. THE BOY goes wild in the cage. Jack trots up to keep him company. LOUIE moves to help Jake. Sarah pulls the legionnaire away. TWO SHOT - HAUSER AND JAKE Hauser throws a hefty right which sends Jake flying. Louie moves in, but he is no match for Hauser. The latter throws a couple punches and puts Louie out of the battle. ANOTHER ANGLE as Jake returns to the fray. He and Hauser destroy what little can be destroyed on board that boat. After a series of bone-crushing blows, Jake begins to get the upper hand. THE BOY AND JACK watch from the cage. CABE begins to come to his senses. HAUSER AND JAKE hit the ground together and Jake manages to get on top. Hauser's beginning to check out, but: CABE is on his feet. He grabs a wrench near the cage. THE BOY AND JACK try to warn Jake. JAKE AND HAUSER With a final blow, Jake knocks Hauser out. LOUIE just coming around, doesn't see Cabe. Luckily: SARAH returning, does. SARAH Look out, Jake! JAKE turns to see Cabe with the wrench raised overhead. Luckily: JACK biting Cabe's cuff, gives it a mighty yank. CABE staggers back against the cage. Immediately, The Boy has wrapped his arms around Cabe's neck. The latter drops the wrench and tries to extricate himself, but The Boy hangs on. Oh, sweet revenge. JAKE gets to his feet, pulls his right back, and lets Cabe have it across the chin. He goes out and down. JAKE (to The Boy) Thanks. Jack barks. JAKE (to Jack) You, too. CUT TO EXT. WHARF - DAY Koji, Todo and their retinue come down the wharf. Halliburton keeps up with him in his wheelchair. They see: ELIJAH'S BOAT Jake and Corky are helping Louie and the wounded legionnaire onto the wharf. KOJI and company approach. KOJI Hello, Jake. Always a pleasure. HALLIBURTON Where's The Boy? JAKE Tagataya is French mandate. LOUIE (to Koji) I'm afraid you have no authority here. HALLIBURTON The Boy is mine. JAKE Yeah, what makes you think so? HALLIBURTON He's my son. (beat) Robert. Everyone reacts to this revelation. HALLIBURTON (to Koji) I'm sorry to have lied. I felt it was the only way. (to Louie) My wife and two year old were on the Regina when she went down. He was the only child on board. LOUIE Can you furnish proof? HALLIBURTON (beat) Only these.... He pulls two photographs from his jacket. Jake takes one. INSERT - THE PHOTO is a copy of the one the boy had. HALLIBURTON (o.s.) My wife and Robert. HALLIBURTON proffers the second, which Jake also takes. INSERT - THE SECOND PHOTO is of Halliburton, the dark-haired woman and a two year old. HALLIBURTON watches their responses. HALLIBURTON That was a week before they sailed. (beat) Only last year I heard the rumor about a wild child.... Jake hands the photos back. JAKE He's never lived in civilization. After his first taste, I doubt he'll want to. HALLIBURTON (swallowing) Why don't we let him decide. Beat. Corky looks to Jake. JAKE Okay by me. SARAH (o.c.) Jake. Halliburton and Jake look up: THEIR POINT OF VIEW - ELIJAH'S BOAT Sarah has brought The Boy to the wharf. Jack is at his heels. The Boy stares at his father. CLOSE - HALLIBURTON The moment he's waited so long for. FADE OUT _END OF ACT FOUR_ _TAG_ [REVISION] FADE IN EXT. WHARF - DAY Jake, Corky, and Louie are grouped together. So are Koji, Todo and her retinue. Everyone watches as: WIDE - HALLIBURTON wheels up to The Boy. Sarah and Jack join Jake, Corky, and Louie. TWO SHOT - HALLIBURTON AND THE BOY HALLIBURTON Hello, Robbie. The Boy silently studies him. HALLIBURTON It's me. Papa. The Boy stares hard at him. HALLIBURTON (showing the pictures) Don't you remember? The Boy steps closer. First he takes the picture of his mother. THE BOY (beat) Mama. Mama. He looks back at Halliburton, then takes the other photo and stares at it. There is a long pause. When The Boy raises his head again to Halliburton, his eyes are wet with tears. THE BOY (slowly) Papa. Papa. Beat. The Boy throws his arms around Halliburton's neck. CLOSE - HALLIBURTON his eyes also glisten with tears. CLOSE - THE BOY his eyes are closed, his arms clinging. THE BOY Papa...Papa.... KOJI turns to Todo and shrugs. TWO SHOT - JAKE AND SARAH They look at one another. Not a bad way for things to turn out. Beneath them Jack barks his approval. FADE OUT _THE END_ _TAG_ FADE IN EXT. TAGATAYA WHARF - DAY A sailor casts off Halliburton's boat. He and The Boy, now dressed in simple sailor's clothes, wave from the stern. REVERSE - JAKE, SARAH, CORKY, LOUIE AND WILLIE wave back. At their feet Jack barks. LOUIE Mes amis, it does my heart good to see such a thing. Let's go right back to Boragora. I'll make up for the parties you missed here. CORKY Gee, Louie that's swell. LOUIE We'll start with my best champagne. CORKY Oh, boy. SARAH No pate. WILLIE Liverwurst. LOUIE Well, something.... JAKE That's real nice, but --- CORKY (cutting him off) And then, how 'bout a steak. (demonstrating width) Three inches. And potatoes. JAKE Corky --- SARAH Ice cream. Real ice cream out of the freezer. JAKE Sarah --- LOUIE I have it, Jake. WILLIE (in a reverie) Und strudel. Hot. Mit schlag. JAKE Uh, Reverend.... CORKY Let's go! JAKE Corky! CORKY Yeah, Jake. JAKE How do you propose we get to Boragora? CORKY What do you mean? We hop in the Goose and.... Suddenly he remembers -- the Goose ain't there. CORKY Gee, the Goose is on --- JAKE (finishing) Bukatari. Minus one pontoon. CORKY (to Louie) Rain check? Louie nods. SARAH (sighing) I'll pack the pate. She and Corky exchange a look and.... FREEZE FRAME _THE END_
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