TALES OF THE GOLD MONKEY

APE BOY

Participating Writers
Andy Schneider
Bill Driskill
Eric Lerner

Written: December 10, 1982
Revisions: 12/13/82



			_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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