TALES OF THE BRASS MONKEY

LADY FROM A COLDER CLIME

Participating Writers
Andrew Schneider
Paul Savage

Written: June 25, 1982



			_ACT ONE_


FADE IN

EXT. TAGATAYA - DAY - TO ESTABLISH

EXT. TAGATAYA HOTEL COMPLEX - DAY

aged by time and the muggy heat of the tropics.  Comings and goings of 
islanders and world travellers of all persuasion.  A Slavic-looking Waiter 
moves out of the main building carrying a cloth-covered tray.  We go with 
him as he heads for a grouping of small clustered cottages.

AT THE CLUSTER OF COTTAGES

The waiter moves on.

INT. COTTAGE - DAY

Rattan, mosquito netting over a bed.  A room adjoins.  Alexi Suslov, a
Russian, late forties, moves to answer a knock on the door.  Despite the 
tropic's enforced "wilted look" there is an air of the military about him.  
Using a rather ornate cane, he walks with a slight limp.

At the knock, Lucia Rety, an attractive, well-dressed, thirty-year-old 
French woman, has appeared in the open door of the adjoining room.  
There is a vague suggestion of tenseness.  Lucia is a capable woman, yet 
she relies on Alexi for both guidance and support.  And he is every ready 
to supply both.


			ALEXI
		(polished Russian accent)
	Who is it?

			WAITER (v.o.)
	Waiter, sir.

The vague tenseness passes.  Alexi open the door and the Waiter enters.

			ALEXI
	On the table there.

At Alexi's gesture, Lucia comes into the room.  Relying on his cane, he steps 
to the table as:

			ALEXI
	I had asked for a fan for the lady's room.

			WAITER
	It is coming, sir.

			ALEXI
	This heat is oppressive.

			WAITER
	Yes, sir.

FEATURE THE WAITER

still nothing untoward as he removes the cloth exposing a platter of cheeses 
and fruits, two glasses and a bottle of red wine.  Setting the tray down he 
turns to face the others with a gun (hidden beneath the tray).

			WAITER
		(Russian accent, now noticeable)
	It will not be a bother to either of you much longer.

Lucia darts a frightened look to Alexi who seems suddenly drained; resigned 
to an obvious fate, as:

			ALEXI
	So...it has finally ended.

			LUCIA
	Alexi!!?

			ALEXI
	Don't you welcome it, too?

			LUCIA
	Alexi, please...!

			ALEXI
	May we at least have time to pray?

After a beat, the Waiter nods.  As Lucia drops to her knees before the 
Waiter, Alexi, who has been using his cane to steady himself, in a single 
motion raises it and aims it at the man's chest, a hidden trigger is touched 
and a seven-inch blade appears at the end of the cane.  It is buried in the
Waiter's hear.  Lucia averts her eyes as the man drops the gun to clutch is 
chest and crumple to the floor.  Now it it Lucia who is drained, genuinely so.  
Averting her look from the dead waiter, she half-whispers:

			LUCIA
	They seem to be everywhere.

			ALEXI
	They _are_ everywhere.

EXT. TAGATAYA WHARF - DAY

Crates, barrels, etc. are piled here and there along the length of the wharf.  A 
crude tent affair offers some shade to some of the crates.  Opposite, at the 
end of the pier, tied close, sits Cutter's Goose.

Sawing back and forth on a lever-like handle, Jake is pumping the last of one 
of several large drums of gasoline into the Goose's wing tank.  When the 
barrel is emptied, the pumping device is removed and inserted into the final 
barrel, and the process continued.  It has been a long, tiring job and Jake is 
sweating profusely.  Jack lies in the nearby shade of the tent affair, half-
dozing.  Corky sits in the cockpit (with the windows open) wearing 
earphones and repeating MOS what his is listening to, to Jake.  Over all this:

			JAKE'S VOICE
	When you run the kind of operation Corky and I do, you have the 
	luxury of ignoring things like bookkeeping .  I mean you do a job, 
	you get paid for it.  Try as you might to put a little away, you spend 
	what you get on food, a roof over your head, a now and then beer, a 
	partial payment on longstanding debts - and gasoline to go looking 
	for the next job.

			CORKY
		(intently listening to the radio)
	I sure wish I could remember what it was I had to tell you, Jake.  
	All's I remember is there's a good part and a bad part.

			JAKE
	It'll come to you, Corky.
		(beat)
	What about the ball scores?

			CORKY
	The station keeps fadin' in and out.  But I think Chicago lost.

			JAKE
	Which Chicago?

			CORKY
	The one in Illinois.

			JAKE
	The Cubs or the White Sox?!

			CORKY
	That's it!  The sox.  But they...
		(beat, remembering; brightening)
	Jake!  I just remembered what I had to tell you!

			JAKE
	Wait a minute...Was it the White Sox who lost?

			CORKY
		(reluctant)
	They wasn't white.  I think they was red.

			JAKE
	The Red Sox?!  You mean Boston!?  The Boston Red Sox?!  
	_Lost_?!

			CORKY
	Jake, please!  I gotta tell you before I forget again.  It's about Jack's 
	eye!

Jack reacts.

			JAKE
		(suddenly interested)
	What about it?

			CORKY
	It's here on Tagataya.  A Turkish sailor over at Hapa-Hoali Annie's 
	has it.  That's the good part.

Jack has immediately started away.

			JAKE
		(overlapping)
	Jack, wait.

He does, as:

			JAKE
	How many beers did you have, Corky?

			CORKY
	Just one.

	    JAKE				JACK
     You're sure...			(growls)

			CORKY
		(to both)
	Honest, I only had one.  I saw it with my own eyes...honest!

			JAKE
		(suspicious)
	What's the bad part?

			CORKY
	He wants two hundred dollars for it

			JAKE
	That's not so bad.

			CORKY
	But we ain't got tow hundred dollars.  Not after paying Annie what 
	we owed her, and buyin' the gasoline.  See you forget sometimes, 
	too.

Jake check his roll of bills.  He hasn't enough.  Jack growls.

			JAKE
	Take it easy.  I'll think of something...Maybe I can borrow it from 
	Annie.

Jack barks once and starts away in high dudgeon.

			JAKE
		(to Jack)
	You don't know!  She _might_ lend it to me!!!

			CORKY
	She's right.  She won't.  Not after it took so long ot pay her back 
	this last time.
		(then)
	We could siphon the gas back out of the Goose...

Jack stops and looks back.

			JAKE
	How are we going to get back to Boragora if we do that?!

And again Jack starts off in a huff.

			JAKE
	Okay!  _We'll do it_!  We'll do it!  Jack!!

EXT. HAPA-HAOLI-ANNIE'S BAR - DAY

A haven for human flotsam and jetsam:  scars, eye patches, missing ears, 
collective chips on collective shoulders.

JAKE, CORKY AND JACK

move in through some swinging doors.  Jack immediately sits near the door 
watching Jake and Corky moving on in.  The two shoot looks back at their 
"brave companion".  Jake darts a derisive look, and indicating o.s.:


			CORKY
	He's still sittin' there, Jake.  Over there.
		(touch wistful)
	Boy that's a long time to just sit and drink.

FEATURE A TURKISH SAILOR

big as a house; mean as a mongoose in heat.  Jake steps up.  And he is 
impressed.  He sits across from the sailor and smiles as Corky steps up.

			JAKE
	I understand you've got a bauble you're willing to let go for a 
	hundred and a half.

			CORKY
	I told you two hundred, Jake.

On Jake's grimace:

			TURKISH SAILOR
	Two fifty...American.

The man's breath is enough to take the curl out of Jake's hair.  Jake seems 
about to bargain.  The sailor looks at him balefully.  Jake changes his mind 
and produces a roll of bills from his jacket.  Figuring at a rate of exchange, 
he peels off all but four or five, adds two more and surrenders them.  The 
sailor pulls a vicious-looking knife from a neck sheath -- trouble?!  -- and 
unscrews the top of the haft to shake "the eye" into his palm.

FEATURE JAKE

The Holy Grail in sight - and in hand.  He admires it.  He would offer a word 
of thanks, but decides against it.  He and Corky head for the door.

FEATURE JACK

He see them coming, he barks as he scoots out the door.

EXT. HAPA-HAOLI-ANNIE'S BAR - DAY

Jack skitters along the veranda to leap onto a nearby pile of crates which 
puts him chest high to Jake and Corky who step up, all aglow.

CLOSER
Jake polishes the eye on his shirt front and proffers it to Jack to admire.

			JAKE
	Didn't I tell you I'd get it back for you one day?

Jack barks twice, then darts for a closer look.  And still closer.  He sniffs the 
eye, then with a slow look to Jake he growls, and leaps from the crate to 
stalk away.  Jake examines the eye closely in the sunlight.

			CORKY
	What is it, Jake.  What's wrong?
		
			JAKE
	It's a fake...
		(yells)
	Jack!  I didn't know!!

And he whirls to head for the bar.  Corky quickly follows.

INT. HAPA-HAOLI-ANNIE'S BAR - DAY

as Jake and Corky burst inside to stop dead in their tracks.

THEIR POINT OF VIEW

Everything as before except the (conspicuously situated) table at which the 
Turkish sailor sat is empty.

JAKE AND CORKY

exchange looks, and:

EXT. APPROACH TO WHARF - DAY - JAKE AND CORKY - 
TRUCKING SHOT

Darined, disheartened and disappointed -- and ticked off.

			JAKE
	Some friend Annie is.

			CORKY
	She did offer to buy the Goose, Jake.

He shrugs at Jake's grimace:  his attempt to look on the bright side falling 
flat.  Then:

			CORKY
	I gotta say I'm really disappointed in Jack.  I mean I think he thinks 
	we tried to trick him!
		(beat)
	We wouldn't do a thing like that.

			JAKE
	What ticks me off is I couldn't tell the difference...even if it was 
	dark in there.

			CORKY
		(beat, then)
	So how are we gonna get to Boragora?

			JAKE
	We'll readio Louie and see if he'll underwrite a loan from Annie.

			CORKY
	There y'go foregettin' again, Jake.  Louie said if we didn't pay up 
	what we already owed...

			JAKE
		(overlaps)
	It was just a though.

			CORKY
	Don't worry.  Something'll  turn up.  It always does.  When you 
	least expect it; whenver things look darkest, if you...

			JAKE
		(cautious hope of something o.s.)
	Corky...

			CORKY
		(misreading)
	I know it sounds Pollyanna, Jake, but y'gotta have faith....

He breaks off his "pollyannaing", reacting to the look on Jake's face, and 
following his gaze to:

INCLUDE ALEXI AND LUCIA

standing next to the Goose with four pieces of luggage.

			CORKY
	I wonder what they want.

Jake chooses to let Corky remain in the dark.  He also chooses not to play it 
"eager".  Lucia's attractiveness is not lost to him as he and Corky stop.  
There is an imperiousness about Alexi which Jake will take a dislike to.  The 
dislike will grow.  (Note:  The gasoline barrels have been taken away.)

			JAKE
	Afternoon.

			ALEXI
	This is your craft?

			JAKE
	That's right.

			ALEXI
	I was told it is for hire.

			JAKE
		(casually)
	That depends on where you wanna go.

			ALEXI
	Could you fly us to an island called Boragora?

			CORKY
	That's where we're headin'...
		(beat)
	Jake, didn't I tell you everything'd work out?

			JAKE
	The fare is three hundred dollars, American...for the two of you.  Of 
	course, I take francs or pounds or....

Corky has darted him a look (he has upped the price a bit) as:

			ALEXI
	We have American dollars.

			JAKE
	In advance.  Mister...?

			ALEXI
	I am Alexi Suslov.

No longer a need not to, Jake turns hiss attention (and charm) on Lucia.

			JAKE
	Jake Cutter, ma'am....

			ALEXI
		(surrendering money)
	Mademoiselle Rety and I shall wait aboard, out of the sun.

			JAKE
	It'd be cooler over there in the shade.  Gassing up is going to take....

			ALEXI
		(overlapping)
	Thank you very much.  We will wait aboard.

He guides Lucia to the fuselage hatch.  Corky darts a look at Jake who 
shrugs.  Then:

			CORKY
	Hey, Jake.  Look.

INCLUDE JACK

moving along the wharf toward them.

			CORKY
	I guess he had second thoughts about us trickin' him.

			JAKE
	Came to your senses, did you?

Jack darts him a look and a snort and jumps into the plane.

			JAKE
	We aren't leaving for a while.  It's going to be hot in there.

Another snort and Jack disappears into the plane.

			JAKE
	Introduce 'em, Corky.
		(beat)
	I'll get us some gas.

As he starts away, Corky sticks his head in the hatch door and"

			CORKY
	Ma'am, Mr. Suslov, that there's Jack.  Jack that's....

EXT. THE GOOSE - DAY - STOCK

skimming along from an island, picking up speed for a takeoff.

EXT. THE GOOSE - DAY - STOCK

in flight.

INT. THE GOOSE - DAY

in flight.  Jake trims tabs, etc.  Corky watches the dials; sets the gas mixture, 
etc., then:

			CORKY
	Two thousand rpms, Jake.

			JAKE
	Check.

			CORKY
	Twenty-seven inches of manifold pressure.

			JAKE
	Check.  Time to break out the goodies.

Lucia sits in the first of the cabin right behind Corky.  Alexi sits in the first 
seat behind Jake.  Both perspire profusely.  Jack is in his place.  As Corky 
retrieves a small box from the cabin floor beside his seat (revealing some 
sandwiches), Jake leans back to speak to Lucia.

			JAKE
	You okay?

Alexi leans forward and somewhat between them and:

			ALEXI
	We are fine, thank you.

Jake grimaces, Alexi's penchant for answering for Lucia is irritating.

			JAKE
	The flight takes about four hours, so sit back and relax.  Corky 
	picked up some sandwiches at the hote.

He has retrieved on and passes it to Lucia, bu Alexi intercepts it, and off 
Jake's look....

			ALEXI
		(explaing)
	Certain foods disagree with her delicate constitution.

He has inspected the sandwich as Lucia gives him a "staying" gesture and 
now takes it from him to begin eating it, as:

			CORKY
	That one's roast beef.  I got chicken if it'd be better for your 
	constitution.

			LUCIA
	This is fine.  Thank you very much.  I was quite hungry.

			JAKE
	What part of France are you from, Miss Rety?  Your accent is....

			ALEXI
		(overlaps)
	Her family were missionaries in China.  Nanchang.  They had to 
	flee the Japanese.

			CORKY
	What are you doing in htis part of the world?

			LUCIA
	I was separated from my family when the Japanese overran....

			ALEXI
		(overlaps)
	There was word her father was somewhere in the French 
	Marivellas.  We are looking for him.

			JAKE
	Living in Nanchang, you must have gone to the French school 
	there, on the Yangtse.

			ALEXI
	As a matter of fact, she did.

Corky has since passed a sandwich to Alexi and has taken a bite on his own.  
He reacts to this last exchange as:

			JAKE
	What is it with you?  The lady can't speak for herself?

At Lucia's darted look and hint of a frown:

			ALEXI
	A lady such as Mademoiselle Rety travelling alone, is obviously in 
	need of protection.  I have been hired to supply it.  You must 
	forgive my overzealousness.

			JAKE
	Well, you can relax for a while.  She won't need any protection 
	here.

Jake looks at her, and might speak, but she averts her eyes.  He shrugs and 
turns his attention to flying, as in an aside:

			CORKY
	Jake?  There ain't no French school on the Yangtse, near Nanchang.

			JAKE
		(nods)
	Making him a liar on top of everything else.

We hold on Alexi and Lucia for a beat, then ---

EXT. THE GOOSE - DAY - STOCK

in flight.

EXT. BORAGORA LAGOON - DAY - STOCK

as the Goose comes in for a long, gliding landing.

					OVERLAP TO

EXT. THE MONKEY BAR - DAY

Corky carries the luggage for Lucia who is somewhat frazzled-looking from 
the trip.  Carrying one suitcase Jake gestures the way to her and Alexi (who 
carries one suitcase and uses his cane).  Jack skitters ahead into the bar.

INT. MONKEY BAR - DAY - VARIOUS ANGLES

Locals and transients pay varied attention to the last few bars of Sarah's 
rendition of a popular song of the time.  Louie pays rapt attention while 
Gushie rolls himself about serving drinks.  Jack appears, presaging the 
others' arrival.  Louie will pour him a saucer of beer.

FAVOR JAKE, CORKY, LUCIA AND ALEXI

as they enter.  Silent greetings of recognition are exchanged among the old 
friends.

FEATURE SARAH

who evidences piqued interested in Lucia and Alexi.  Nothing untoward, but 
Lucia is attractive, despite the ravages of travel:  Jake does draw the pretties.

FEATURE LOUIE

Sarah's song ends a moment after Jake has led Lucia and Alexi to Louie.  
Corky darts an envious eye at Jack lapping up his beer.  Then with a 
scattering of applause following her, and with the piano player continuing 
with some ditty, Sarah moves up.  Over this:

			JAKE
	Louie, Mademoiselle Lucia Rety.  Alexi Suslov.

			ALEXI
	Mr. Cutter said we might find rooms in your establishment.

			LOUIE
		(pleasure before business)
	A countrywoman.  Enchante.  Mademoiselle.
		(in French)
	Such a delight to serve so charming a guest.

			LUCIA
	Your flattery is most kind.  Such a pleasant....

			ALEXI
		(overlapping)
	Mademoiselle is quite tired.  If you please, we will require 
	adjoining rooms.

Louie is a touch affronted by the interruption.

ANOTHER ANGLE

as Sarah steps up:

			SARAH
	I see you two temped the Gods again...and lived.

			JAKE
	Hi, kid.

She covers the irritation his flip greeting engenders as:

			CORKY
	That was a really pretty song, Sarah.

			SARAH
	You sure know how to please a lady, Corky.
		(veiled barb at Jake)
	Do you give lessons?
		(off Jake's frown to Lucia)
	Sarah Stickney White.  Welcome to Boragora.

			LUCIA
		(warmly pleasant)
	Lucia Rety.

			SARAH
	You look a little limp from travelling.

			LUCIA
	I am.

			SARAH
	You'll feel better after a bath.

			JAKE
		(to Sarah)
	Alexi Suslove.

Suslov acknowledges Sarah with a nod as:

			ALEXI
	If we might see the rooms now.

			LOUIE
	It will be a little time, monsieur.
		(to Lucia in French)
	The chambermaid was late.
		(in English)
	The only adjoining suite acceptable enough for the lady is being 
	prepared.
		(a gesture to his table)
	While you wait, if you would permit me to open a presumptuous 
	little wine...?

			CORKY
	I like a presumptuous wine.
		(off Louie's look)
	Course, beer's just as good.

			SARAH
	I have soem things to do.
		(to Lucia)
	I hope I'll see you again.

			ALEXI
	We will be here for only a brief time.

Sarah reacts to, and Jake shakes his head at Alexi's "overzealousness", and to 
Alexi:

			JAKE
	You're in good hands with Louie, there.  Beyond that, be on guard.

He starts away and Willie who has entered approaches.

			JAKE
	Reverend Tenboom excepted.

He tosses a wave, and to Lucia.

			JAKE 
	Good luck with your search for your father.  Come on, Corky.

Corky reluctantly follow.

			CORKY
	I'll take a raincheck, Louie.

NEW ANGLE

as Willie steps up for:

			LOUIE
	Will you join us, Reverend.  I was just about to get some wine.

			WILLIE
	Thank you, Louie, but I came for a bottle of brandy; I have work to 
	do at the church.

			LUCIA
	You are a missionary.

			WILLIE
	Ja.

			ALEXI
		(hint stiffly)
	You are German?

			WILLIE
	Dutch.  I am with the Dutch United Church.

			LUCIA
	Please, can you give us a few moments?  Maybe you can help us.

Louie asides to Gushie to bring the wine and glasses as he and Willie sit and:

			WILLIE
	Helping is my mission in life.  To help where I can...
		(a look to Lucia)
	...and to bless those who will accept my ministarations.

			ALEXI
	Are you familiar with the missionary work in these islands?

			WILLIE
	I would say that I am, jah.

			ALEXI
	We are looking for Mademoiselle Rety's father.  He was a 
	missionary doctor in China.  We have traced him to the Marivellas.

			WILLIE
		(shaking his head)
	A French missionary doctor from China, now in the Marivellas?

			LUCIA
	He is Russian.

			ALEXI
	Her mother was French.

			WILLIE
		(recollects)
	There was talk a time ago of a Russian missionary on Tongaree, but 
	no one I know ever believed the story.

			LOUIE
	Or has even been interested in verifying it.

			ALEXI
	Why is that?

			WILLIE
	Tongaree is inhabited by cannibals.

On their looks:

EXT. THE PIER - DAY - THE CHINA CLIPPER

is disgorging passengers.

FEATURE MIRASLOVSKI

a cold-looking, impassive man with high Slavic cheekbones.  As he 
deplanes, he nods to the purser:

			MIRASLOVSKI
		(heavy accent)
	Thank you for a most pleasant flight.

As he heads away, he retrieves a handkerchief from an inner coat pocket to 
dab the beads of perspiration off his face.  In doing so we see a holstered 
revolver under his coat.

					FADE OUT

			_END OF ACT ONE_


			_ACT TWO_

FADE IN

INT. MONKEY BAR - DAY - EARLY MORNING

Chairs, upended on the tables.  Deftly handling his wheelchair, Gushie goes 
about cleaning up.  Jake and Corky sit at the only table set, having breakfast.  
Jake is reading an old newspaper and only half-hears Corky who eats and 
prattles.

			CORKY
	It was Paule Whiteman comin' from that place near the pier in Santa 
	Monica.  You should have heard it.  Really great music.

			JAKE
	Mmmm.

			CORKY
	The skip lasted last almost twenty minustes, off and on, 'fore it 
	bounced off somewhere else.

			JAKE
	Mmmm.

			CORKY
	I don't mind tellin' you:  listenin' made me homesick.
		(beat)
	We're goin' back to the States some day, aren't we, Jake?

			JAKE
	What'd you say, Corky?

			CORKY
	What are you reading?

			JAKE
	_The Boston Globe_.

			CORKY
		(looks)
	It's four months old.
		(with an almost wistful look of empathy)
	You think about it the same as me, don't you?

			JAKE
	Think about what?

			CORKY
	You think about it.

NEW ANGLE

as Alexi moves in and to the table.

			ALEXI
	Good morning.

			JAKE
	Suslov.

			ALEXI
	I have been looking for you.

			CORKY
	We been right here.  We was down to the Goose earlier; that 
	starboard engi....

			ALEXI
		(overlaps)
	I would like to hire you and your aircraft again.

			JAKE
	Louie told me about your conversation with Reverend Tenboom 
	yesterday.

			CORKY
	You don't believe that crazy story about a white man livin' with 
	them cannibals on Tongaree.

			ALEXI
		(ignores Corky)
	I will pay you well.

			JAKE
	Pass.

			ALEXI
	Mr. Cutter, it is very important that we reach....

			CORKY
		(overlaps)
	Double pass.

			ALEXI
	I have not read you as a man who lacked courage, Mr. Cutter.  And 
	I can read men well.  It is a little bit personal, is it not?  Your 
	refusal?

			JAKE
	A little bit.

			ALEXI
	Mademoiselle Rety is searching for her father.  Her _father_.  Can 
	you not put aside what you feel for me, and identify with such a 
	quest?

Coky has darted his look to Jake.  Suslov could not know how directly he 
has touched a nerve.  He gets no reply so he turns and unbending to 
rejection, limps away.

			CORKY
	You stick to your guns, Jake.
		(beat)
	I mean broke as we are:  Tongaree!
		(beat)
	Jake?

			JAKE
	Yeah?

			CORKY
	You ain't doin' like he said:  'identifin'?'  It ain't the same as you and 
	your father....

A look and:

EXT. TENBOOM'S CHURCH GROUNDS - DAY

Some ongoing activity:  natives gardening, etc.  A pretty Native Girl moves 
out of the residence to look about.  To a gardener:

			NATIVE GIRL
	Have you seen Reverend Tenboom?

The gardener shakes his head.  The girl heads away to exit into the church.

INT. TENBOOM'S CHURCH - DAY

The Native Girl moves in to look about and call his name.  As she moves 
through the church she passes the secret panel leading to Tenboom's radio 
rom.  We hold and she passes on, calling his name.  And we:

INT. TENBOOM'S SECRET RADIO ROOM - DAY

Willie is at the radio wearing earphones and with angry impatience taps out 
a message.

Intercut with:

A GERMAN SUBMARINE COMMANDER AND HIS RADIO MAN

			RADIO MAN
		(verbally decoding)
	....Unterseeboot is to maintain constant repeat constant contact with 
	this station.  Have been calling since last night....

Willie angrily taps away.

			SUB COMMANDER
		(imperious dictation)
	Tell him to send his message and stop questioning my....

Will hears the reply.  It irritates him and begins sending again.

The Radio Man decodes for the Commander:

			RADIO MAN
	Further information re Russian reputed to be on Tongaree.  Have 
	learned person who went there six months ago also Russian....

Willie taps away on the key.

The Radio Man decodes for the Commander:

			RADIO MAN
	...now these two more Russians.  Suspect Soviet spy mission.  Will 
	proceed on this assumption.  contact Berlin for orders....

EXT. MONKEY BAR HOTEL - DAY

A torrential tropical rain pours down.  Jake walks along the second floor 
lanai to his room.

INT. JAKE'S ROOM - DAY

Light flilters through the louvered  slats.  Jake's key rattles in the lock; the 
door opens and Jake enters and reacts -- not with surprise.  With an almost 
knowing smile:

			JAKE
	How'd you get in here?

INCLUDE LUCIA

waiting in the room for him.  For a fleeting moment she tries to act the 
seductress.  It does not fit her.

			LUCIA
	Your friend Louie is a romantic.  He gave me a key when I asked 
	for it.

			JAKE
	He's also a very good judge of women.  He'd know you're not the 
	type.

			LUCIA
		(admits)
	I have found a friend in your friend.

			JAKE
	Maybe he'll take you to Tongaree.

			LUCIA
	I came to ask you.
		(at his look)
	I _must_ learn if the man on that island is my father.  Certainly you 
	can understand....

			JAKE
		(overlaps)
	Suslov gave me the same pitch.

			LUCIA
	I do not understand 'pitch'.
		(then)
	Mr. Cutter.  I am a refugee....

			JAKE
	I know.  From China.

Lucia wants to say more than she does.  Jake senses it and despite his better 
judgment feels a kind of alliance to her cause as:

			LUCIA
	Countries go to war...like Japan and China...order changes...and the 
	people...people like me are thrown to the wind.
			JAKE
		(addressing to his own devil)
	A lot of people are thrown to the wind for a lot of reasons.

			LUCIA
		(intuitive)
	And must deal with their circumstances, each in their own way.
		(sensing his awareness of this, and a slackening of his 
		resolve)
	You are more than you seem, Mr. Cutter.
		(beat)
	Will you take us to Tongaree?

			JAKE
		(beat)
	I'll take your friend, Suslov.  If we find your father we'll bring him 
	back.

			LUCIA
	No.

			JAKE
	It very likely is going to be dangerous.

			LUCIA
	You will take both or I shall somehow find other means of getting 
	there.  A Princess Kogi we are told....

			JAKE
		(overlaps)
	Will take you for a price and drop you at the edge of the jungle.
		(at her level look)
	All right.  I'll take you.

			LUCIA
	Don't show anger, Mr. Cutter.
		(intuitively)
	I know you understand.

EXT. MONKEY BAR HOTEL - DAY

at the foot of the stairs leading to the upper lanai.  A watching Sarah sees 
Lucia move out of Jake's room and move along the lanai to her own room.  
Sarah frowns slightlly.  As angle adjusts and she turns to move inside the 
bar, she collides with Miraslovski.

			SARAH
	I'm so sorry.

			MIRASLOVSKI
	It was my fault.
		(stolid attempt at graciousness)
	The rain is a welcome relief from the heat.

The words are there but the smile is not, nor the attitude of amiablity.  Sarah 
forces a smile, ad-libs a "yes, it is," and moves on into the bar.  Miraslovski 
looks balefully up the stairs and heads away.

EXT. MONKEY BAR - NIGHT

The rain has stopped.  There is a bright moon.  Sounds of music and babble 
of voices from inside.  Then we see Willie move up to glance inside.  He is a 
touch furtive as he peers over the swinging doors.

HIS POINT OF VIEW - THE ACTIVITY

Locals, tourists.  Lucia and Suslov sit to one side eating an evening meal.

WILLIE

turns away and slips up the stairs to the upper lanai.

EXT. UPPER LANAI - NIGHT

The bright moon bathes the entire area in a cold light.  Willie moves up and 
to Lucia's room.

AT THE DOOR

Willie darts a look about then proceeds to pick the lock with a thin wire-like 
tool.  The lock clicks and Willie slips inside.

INT. LUCIA'S ROOM - NIGHT

Willie quickly closes the door, relocks it, and crosses into the room and turns 
on a small lamp near the bed.  He steps to the closet to look in:  Empty -- 
save for Lucia's two suitcases which he retrieves to place on a stand at the 
foot of the bed.

CLOSER - WILLIE

opens the first to examine the contents:  ladies apparel.  He checks for false 
bottom and sides.  Nothing.

EXT. MONKEY BAR - NIGHT

Miraslovski moves up out of the gloom to check inside as Willie had done.

INT. LUCIA'S ROOM - NIGHT

Willie checks the second suitcase, and discovers a false bottom.  He 
carefully removes the clothes. piling them in order, then he searches for and 
finds a secret compartment.  He opens it and gapes at the contents.  We 
cannot see what he see.

EXT. LANAI - NIGHT

Miraslovski gains the top step and starts down along the lanai toward Lucia's 
room.

INT. LUCIA'S ROOM - NIGHT

Willie's hands hover over the unseen contents of the false bottom.  His hands 
flutter to his coat front, his fingertips flick over the material, drying the 
beads of cold perspiration.  All the while he stares in fascination.  Resolve 
summoned, he starts to retrieve something but a knock on the door arrests 
him.  He quickly closes the false bottom and starts to return the clothes.

EXT. LUCIA'S ROOM - NIGHT

Miraslovski looks about -- and knocks again.  Now he retrieves a lock pick 
from his coat pocket.

INT. LUCIA'S ROOM - NIGHT

Willie closes the suitcase.  He hears the lock being picked and panics.  He 
starts for the closet, returns to turn out the light and starts to pick up the 
suitcase when the door starts to open.  He darts for the closet and gets inside 
as Miraslovski slips in to close the door.  The suitcase lies on the bedstand.

NEW ANG;E

as Miraslovski moves into the monlit-streaked room.  He turns on the same 
lamp.  He crosses to the closet as to open it when he spots the suitcase.

IN THE CLOSET

slatted, permitting shadowy movement to be seen.  Willie holds his breath.

INT. MONKEY BAR - NIGHT

Ongoing revelry.  Lucia and Alex finish their meal in a side booth.  Across 
the way, in another booth, Jake, Sarah, Corky and Louie finish their meal.

ANGLE - JAKE, ET AL

midscene:  miffed.

			SARAH
	...so what's a dippy singer in a backwater South Sea Island bar 
	know, right?!

	    JAKE				CORKY
     	 (a tease)		You ain't dippy, Sarah.
     Right.

			LOUIE
	Cherie, do not denigrate yourself.
		(beat)
	Or the Monkey bar.

			JAKE
		(overriding)
	The idea of the two of them being spies is ridiculous.  They may be 
	a lot of things, but....

			SARAH
		(challenging glare at Jake; to oblique for the others)
	So I don't know anything about the world of espionage...
		(added meaning)
	But people who do might be very interested.

			JAKE
	That very well might be.

			SARAH
	Tell me it's not suspicious:  A Russian 'missionary' goes to 
	Tongaree....

			JAKE
		(overlaps; corrects)
	_Supposed_ to have gone there.

			CORKY
	An' prob'ly eaten by now...
		(to Jake)
	Just like we're gonna be if....

			SARAH
	Corky!
		(beat; to Louie)
	Now two more Russians are going there thanks to fly-boy, here.

			JAKE
		(amused)
	Fly-boy?

			SARAH
	Everybody says we're getting closer to war.  When it's here, 
	Tongaree will occupy a very strategic position located as it is right 
	in the heart of the Marivellas.

			LOUIE
	That is not the reasoning of a dippy singer in a backwater...

He breaks off his intended flattery as Lucia and Alexi step up to the table.

			ALEXI
	Please excuse the intrusion.

			LOUIE
	Alexi.  Mademoiselle Rety.

Sarah stews but covers.

			ALEXI
	Could we complete our business arrangement?  To purchase the 
	gasoline and whatever else we will need?

			JAKE
	Fine with me.

			ALEXI
	In our rooms?

Jake stands when Sarah gives him a covert gesture of dismissal:  Go, if you 
insist on helping spies!  He smiles, and:

			JAKE
	I'll be back in a few minutes.

			SARAH
	Don't hurry.

As Jake starts away with Lucia and Alexi:

INT. LUCIA'S ROOM - NIGHT

In the half-gloom Miraslovski is methodically going through the suitcase.

IN THE CLOSET

Willie strains to see (cannot).

EXT. LUCIA'S ROOM - NIGHT

Jake, Lucia and Alexi approach from b.g.

INT. LUCIA'S ROOM - NIGHT

Miraslovski discover the false bootm -- he has dumped the clothers onto the 
bed.  As he looks for the secret to opening the false bootm, a key is inserted 
in the door lock.  Instantly Miraslovski turns the light out and looks for 
cover, and decides on the closet.

IN THE CLOSET

Willie reacts -- and grips the corners of the lovers with both hads, holding 
the door shut.

IN THE ROOM

Miraslovski reacts to the resistance of the door, but has no time to lose.  He 
darts to the wall near the door.

CLOSER

as the door opens, Miraslovski flattens himself.  Alexi takes a step inside to 
turn on the main light switch he sees the open suitcase and the scattered 
clothing and pulls Lucia aside as Miraslovski darts out.  Before the sword-
cane can be brought into play, Miraslovski drops Alexi with a single blow.  
He would dart past to charge at Lucia?!!  But Jake is there to tackle him and 
drive him abck into the room.  Lucia screams.

IN THE CLOSET

Willie reacts; what the hell is going on?  He cannot break his cover!

JAKE AND MIRASLOVSKI

in the room square off as both roll to their feet.  The terrified Lucia backs to 
the wall as Miraslovski blocks a left jab then throws a karate chop which 
staggers Jake.  And Miraslovski disappears into the night.

NEW ANGLE

as Jake and Alexi gather themselves and:

IN THE CLOSET

Willie tries to figure out what is going on.

IN THE ROOM

as Lucia moves to Jake and Alexit for:

			LUCIA
	Are you all right?

			JAKE
	Who was that?

			ALEXI
	How would we know?

			JAKE
	I didn't ask you.

			LUCIA
		(at his look; touch of fear)
	I don't know who he was.

			JAKE
	Well you know a lot more than you've told me so far.  Who are 
	you?  What are you?  I want to know what it is I'm getting into.

			ALEXI
	We will tell you nothing!

			JAKE
		(heading away)
	Then good-bye and good luck.

			LUCIA
	Mr. Cutter!

Jake turns back.

			LUCIA
	My name is Anastasia Romanov.

Jake glowers, disbelieving, but his retreat has been stayed.

IN THE CLOSET

Willie reacts, stunned.

IN THE ROOM

Lucia subtly becomes "royalty" and Alexi becomes her "subject".

			JAKE
		(a look; beat)
	Good night.

			LUCIA
		(staying his retreat)
	Jake!  Wait!!

She steps to the open suitcase to open the secret compartment and retrieve a 
handful of priceless jewelry.  Jake gapes.  She singles out one piece:  The 
double-headed eagle on a chain -- the Romanov crest, and:

			LUCIA
	I am the only surviving child of Tsar Nicolas II.  I am the heiress to 
	the Russian throne.
		(then)
	That is _what_ I am.  Proof is on Tongaree...Who I am...I don't 
	know.  I have yet to learn that.  In any case:  Who.  What.  I need 
	your help.

On Jake's look:

					FADE OUT

			_END OF ACT TWO_


			_ACT THREE_

FADE IN

INT. LUCIA'S ROOM - NIGHT

A short time later Alexi is returning the clothes to the suitcase.  Lucia sits 
(regally?) in a chair.  Jake confronts her.

			ALEXI
	I thought the Royal Family was shot together, in 1918.

			LUCIA
		(not without pain)
	It was.  But I was spared.  A white Russian, an imperial guardsman
	who disguised himself as one of the 'proletariat' murderers avoided 
	shooting me...I laid there, pretending I was dead while my family...
		(beat)
	When the bodies were to be buried, the guardsman picked me 	up...we fled.  He was my guardian then...
		(of Alexi)
	...he has been ever since.

			JAKE
		(logic)
	Making him proof of your claim to the Romanov throne.

			ALEXI
	A mere soldier would never be believed.

			JAKE
	The one on TongareeL  If he's alive -- ?

			LUCIA
	Anatoli Kuzmich Filipov.  A monk.  Second only to Rasputin, in 	my mother's affection.  After the revolution, he fled Russia.  On and 
	off, for twenty years, Alexi and I have been searching for him.

			JAKE
	How is he your proof?

			LUCIA
	He attended my mother when I was born.  He can identify me by a 
	birthmark on my shoulder.

			JAKE
	The man we caught in your room?

			ALEXI
	Like the man I killed on Tagataya.  A Bolshevik agent.

			JAKE
		(look, then)
	You must want to be a princess again, awful bad.

			LUCIA
	I want to serve my people.
		(beat)
	I want the right to my name.

			JAKE
		(identifies with this, then)
	The two of you spend what's left of the night in my room.  You'll be 
	safer...We'll leave right after daylight for Tongaree.

He retrives the suitcase and they exit.  Beat, then Willie appears from the 
closet to move across the room, check outside, then exit.  Then:

EXT. MONKEY BAR HOTEL - UPPER LANAI - NIGHT

A short time later, Sarah moves out of her room and starts toward Jake's 
room.  Something o.s. makes her pause and stay close in some shadows.

INCLUDE LUCIA

in nightdress, on the lanai outside Jake's door.  She is looking out over the 
quiet night.  Then she turns to answer a summons inside the open door.

			LUCIA
	Coming.

AT THE DOOR

We can see inside the room where Alexi who has called to her sits in a 
chaise-like chair covered with a light blanket.  Across the room, the bed.  
Lucia moves in and closes the door.

FAVOR SARAH

misreading what she has seen and heard.  There is a little pain and regret.  
She turns and heads away.  And:

EXT. BORAGORA WHARFSIDE - DAY

In b.g. Corky is helping Lucia and Alexi onto the Goose.  Jake, Jack, Sarah 
and Louie in f.g.  Sarah covers her feelings with a patina of worldly elan.  
(Note:  Jake wears a sidearm on his hip.)

			SARAH
	I've been given no reason to change my mind about her.  Them.  
	You have.
		(veiled added meaning)
	You believe that royalty story.

			JAKE
	Yes, I do.

			LOUIE
	If you are right, Jake; if she is Anastasia, and you help her prove it, 
	you will be a postscript in history.

			SARAH
	Prove it or not you see to it Corky doesn't end up part of some 
	cannibal's diet.

			JAKE
	I'll do that, kid.

			SARAH
	Do me a favor.  Will you Jake?  Don't call me kid.
		(beat)
	If you play your cards right, one of these days you'll learn how 
	wrong you are in thinking of me that way.

She gives him a "young-Bacall" look and heads away.  With her back to him 
the look gives way to one of vulnerability.  Vulnerability angers her.

EXT. BORAGORA LAGOON - DAY - STOCK

The Goose glides across the water and lifts off.

			JAKE'S VOICE
		(not without humor)
	The plan was simple:  Fly to Tongaree; hope to find Anotoli 
	Filipov; hope he had developed some influence over the cannibals; 
	hope he could identify Anastasia as the heir to the Romanov throne, 
	and hope _that_ meant enough to do a turnaround in the Russian 
	government.
		(beat)
	At best I figured the whole thing shouldn't take more than a day.

The Goose flies on.  Then:

EXT. PRINCESS KOGI'S ESTATE - DAY

Princeess Kogi and Willie, in his military uniform, stroll through her 
manicured gardens.  Toto walks behind disdainful of occidentals.

			PRINCESS KOGI
	Willie, you come to me with the most fantastic stories.

			WILLIE
	I _saw_ the pendant!  I _almost_ helt it in my hands!  Berlin has 
	confirmed the design.

			PRINCESS KOGI
	Why is the little paperhangar interest in Anastasia?  If she is 
	Anastasia.

			WILLIE
	The Fuhrer is concerned for her safety.  He wants to protect her 
	from Bolshevik assassins.

			PRINCESS KOGI
	Of course he wouldn't consider exploitying her for political 
	purposes.

			WILLIE
	Exploit?  You think she would not wish to participate in the 
	struggle against Communism?
		(off her knowing smile)
	Can we reach an agreement?

			PRINCESS KOGI
	Why me?

			WILLIE
	Naturally, I wanted you to have the first opportunity.

			PRINCESS KOGI
	I'm touched.  I thought perhaps no one else would agree to take you 
	to Tongaree.

			WILLIE
	I have asked no one else.
		(then)
	The native being...obstreperous...we would need some of your 
	soldiers.

			PRINCESS KOGI
	Not necessarily.
		(at his look)
	Their Chief owes me a favor.  I admit his honoring that fact is quite 
	problematical.

			WILLIE
	A _cannibal_ owes you a favor?

			PRINCESS KOGI
		(shrugs)
	I sent him some gold prospectors a few years ago.
		(laughs at his horror, beat)
	What's the deal, Willie?

			WILLIE
	I am authorized to make you a very generous offer.

			PRINCESS KOGI
	I don't want money.  I have all the money I need.

			WILLIE
	What then...?

			PRINCESS KOGI
	I would consider the Romanov jewelry.

			WILLIE
	Berlin wants to make an ally of Anastasia!  Conficating her jewelry 
	would hardly facilitate that.

			PRINCESS KOGI
	Sometimes you are so unimaginative, Willie.
		(at his look)
	Thefts can be arranged.

INT. SARAH'S ROOM - DAY

She sits at her desk, recieving a message over her secret radio.  She listens 
intently, decoding onto a note pad.

INSERT - THE PAD

Her printing reads:  PRESUME ROMANOV IDENTITY GENUINE.  
ASSIST TONGAREE EFFORTS.  BEWARE SOVIET AGENTS.

SARAH

reacts.

EXT. TONGAREE LAGOON - DAY

The Goose is anchored a few yards off shore.  Corky sits in the open 
hatchway with a rifle, on guard.  He is not at all happy.

			CORKY
		(soliloquy)
	At least Jack could've stayed for company.
		(and imaginary conversation)
	What was it like on Tongaree, Corky?
		(beat)
	I don't know fellas.  I guarded the Goose ten yards off shore from 
	cannibals twenty miles inland.

A grimace of self-denigration, and:

EXT. TONGAREE JUNGLE - DAY - VARIOUS ANGLES

to take Jake, Lucia (wearing borrowed, sensible clothes), Alexi, and Jack 
through enough of the verdancy to say touch, exhausting going.  It is 
difficult on the lame Alexi, but -- grit and cane -- he is worthy of the 
challenge.  At one point they slog through chest deep, brackish water.  (Jake 
carries Jack.)  Over all:  subdued jungle sounds -- birds, insects and wild 
animals.  All the while an unseen threat is sensed just beyond the enveloping 
tangle of jungle growth.  Then:

AT A CLEARING

A scattering of bones and two or three skulls lie near the blackened  area of 
an old fire.  A few pieces of torn clothing; an old shoe (a  hole in the sole).  
First Jack, leading hte way, then the others appear in b.g.  Jack moves to f.g. 
and stops, looks about, and with a growl, beats a retreat to Jake and the 
others.

FEATURE JAKE

as he and the others move up, and Jack scoots to him to growl.  All stop for:

			JAKE
	What is it, Jack?  Something wrong?

Jack barks twice, looks at the o.s. bones, sneezes a snort and starts back for 
the Goose!

			JAKE
	Wait a minute!
		(as Jack waits)
	Stay with the lady.
		(to Alexi)
	Let's take a look.

The two head on.  Lucia gratefully sits on a fallen tree trunk.  Jack sits near 
her.

AT THE FIRE/BONES AREA

Jake and Alexi move up to react with mutual concern.

WITH LUCIA

Neither she nor Jack, attention on the b.g. Jake and Alexi, are aware of a 
humoungously large snake uncoiling from the tree directly above them.

WITH JAKE AND ALEXI

			ALEXI
	How long ago?

			JAKE
	No telling.

			ALEXI
	The clothing....

			JAKE
	What there is looks like seamen's.

			ALEXI
	So far from the coast?

			JAKE
	I guess nobody was hungry until they got here.

WITH LUCIA

as the snake inches ever lower out of the tree.

WITH JAKE AND ALEXI

			JAKE
		(of the evidence of carnage)
	We can work our way around; she doesn't have to see this.

			ALEXI
	We should have _made_ her stay at the plane with your friend; 
	brough Filipov to her.

			JAKE
	I should have made her stay on Boragora!

They react as Jack sets up a loud barking.

FAVOR LUCIA

Jake and Alexi in b.g.  The snake is a foot from Lucia's head now.  She sees 
it and is frozen in fear.  Jack is growling.

FAVOR JAKE AND ALEXI

Lucia and Jack in b.g.;  the snake uncouling closer.  Jake draws his gun.

QUICK CLOSE - JAKE'S GUN

fires with a flash into camera.

THE JUNGLE - THREE QUICK ANGLES

It really comes alive with bird sounds, roars of animals and chatterings, etc.

FEATURE LUCIA

as the snake slowly uncoils -- and uncoulds from the tree.  She watches 
wide-eyed as Jake and Alexi race to her.  Jake instinctively puts his arms 
around her (something which would never occur to Alexi to do:  She is 
royalty:  his "station").

			LUCIA
	I...I couldn't move.

			JAKE
	It's all over.

			LUCIA
	Jake, I'm going to faint.

And reacting to a nearby o.s. sound (plus Jack's growling):

			JAKE
	Maybe I will too.

INCLUDE A DOZEN CANNIBALS

melting through the foliage to ring Jake and the others.  Jack takes off.  The 
cannibal's bodies are paint-daubed; they wear loin cloths and remnants of 
their seafaring victims' clothes.  Those few whose teeth we see are filed to 
dagger-like points.  Resistance means instant death and Jake knows it.  So 
does Alexi much as he might entertain using his sword-can.  As the natives 
cloes in:

					FADE OUT

			_END OF ACT THREE_


			_ACT FOUR_

FADE IN

EXT. THE JUNGLE - DAY - ON JACK

as he tears along at breakneck speed.

ANOTHER ANGLE

The same.

AT THE BRACKISH WATER

Jack leaps in and swims on.

AT THE GOOSE IN THE LAGOON - DAY

Corky sits and sweats and munches on a sandwich.  He looks about, bored.

AT THE JUNGLE'S EDGE - INCLUDE THE GOOSE

as Jack breaks out of the jungle to skid to a stop at the water's edge and 
banks to get Corky's attention.

FEATURE CORKY

His initial reaction is to offer a smile of welcome and:

			CORKY
	Hiya, Jack.

Jack growls and moves back to the edge of hte jungle alerting him to the fact 
something is amiss.  It gets Corky into the chest-high water and wading 
ashore, rifle held high.  Over this:

			CORKY
	Somethin' wrong, Jack?

Jack barks twice.

			CORKY
	What is it, Jack?
		(beat)
	I'm comin' as fast as I can.

And on his reaching shore, Jack turns tails and streaks away.  Corky clutches 
the gun, hangs on to his hat and gives fast pursuit.

ANOTHER ANGLE

A few paces and Corky disappears into the jungle.  Then Princess Kogi's 
power launch cruises around a b.g. edge of the island to cruise into the 
lagoon.

ON PRINCESS KOGI'S POWER LAUNCH

Willie, in helmet and khaki, ducks below the gunwale.  With him are 
Princess Kogi, Todo, who peers through a scope at the Goose, and a handful 
of warriors.

			TODO
	I see no one on board.

			WILLIE
	You're sure.

			TODO
		(lowers glass; glowers)
	They are all gone.

			WILLIE
		(standing)
	Do you think they left a trail we might follow?

			PRINCESS KOGI
	My dear Willie, I have no intention of being part of a search party 
	through a sweltering jungle.

			WILLIE
	But how will we....

			TODO
		(overlap)
	I will send word to Chief Mombateeka that we are here.

			PRINCESS KOGI
		(a twinkle)
	For the messenger's sake, I hope he puts honor before diet.

			TODO
	And that Jake Cutter and the lady you seek have not already been 
	baked, broiled or boiled.

On their looks:

EXT. CANNIBAL VILLAGE - DAY - TO ESTABLISH

The pits:  mean, crude huts of grass, cannibal women, warriors, (kids?), and 
oldsters.  All paint-daubed, dirty, mean-looking, much (mumbo-jumbo) talk; 
excitement -- a banquest soon -- and white meat for all!

AT A GRASS HUT

Two fierce-looking cannibals (pointed teeth) stand guard, bearing crude 
cudgels and unique-looking, large-headed axes.

INT. GRASS HUT - DAY

A hovel, animal skins, some bones, a human skull decorated with feathers, 
etc.  Jake, Lucia and Alexi are trussed tight (with woven-reed ropes).  
Alexi's can lies nearby out of reach.  O.s. the sounds of the expectant 
cannibals (when is supper?!)  Jake stretches his leg, trying to "toe" the 
sword-cane closer.  He cannot.  Frustration from all.  Jake tugs at his bonds.  
There is a note of resignation to:

			LUCIA
	Are we going to die, Mr. Cutter?

			JAKE
	Kicking and screaming if it comes to it.

			LUCIA
	I am sorry for bringing you to this.

			JAKE
	Save the regrets.  We aren't dead yet.

			ALEXI
		(the soldier)
	To meet death this way is degrading.

			JAKE
		(still working his bonds)
	As long as the 'meeting' is bein' held of....

			ALEXI
	Struggle is useless.

			LUCIA
	Like our quest has been.
		(at Alexi's frown)
	I could never speak of the doubt.

			ALEXI
	What doubt?

			LUCIA
	That it really mattered.

			ALEXI
	Of course it mattered!

			LUCIA
		(wry shrug)
	I would have liked to know who I am.  What more I am.

			JAKE
	For one thing you're a pretty gutsy lady.

			ALEXI
	What more than to be Russian Royalty?!

			LUCIA
	I do not know.  And I would have like to know.
		(hint of sensuality)
	I would also have liked to know what more there is to you.

			JAKE
	That's a long story.  A pity.

Looks for a beat, then"

NEW ANGLE

as Mombateeka, the Chief, enters.  He is distinguished from the two warriors 
who accompany him (and the others in camp) by his headdress and facial 
paint markings.  (His are more unique.)  He is fat and fearful looking.  He 
gestures to Lucia.  The two warriors move up to begin to cut her bonds.  (A 
frightening moment as their knives are drawn.)  Alexi and Jake both lash out 
to kick at them, rather ineffectively, yet enough to receive cuffs and blows 
for their efforts.  Ad-libs of "Leave her alone!", "No!", "Take me!", etc.  An 
(almost) involuntary mewling escapes Lucia's throat as she struggles (and 
when cut free, claws and kicks).

The two warriors hold her firmly by each arm.  At Mombateeka's mumbo-
jumbo order, they exit with her.  As Jake and Alexi continue to struggle 
against theri bonds, two more warriors enter.  Jake is next to be cut free and 
taken outside.

EXT. CANNIBAL VILLAGE - DAY

Everybody in the village is ready for the feast and anxious to begin it.  Much 
mumbo-jumbo anticipation.  All have knives and axes of one sort of another.  
Several warriors hold the same weapon in one hand, and stout, burl-wood 
cudgels in the other.  Alexi is dragged out of the hut and brought next to 
Jake and Lucia who are held firmly, arms outstretched.  At Mombateeka's 
gesture, a warrior steps to Lucia as to bash her head in.  Jake and Alexi 
struggle to no avail.

FAVOR LUCIA

as she kicks and screams (as much in anger and defiance as in fear).  
Mombateeka steps to her as to stay her wild resistance by slapping her in the 
face and grabbing her by the shirt front and shaking her, terrier-like.  In 
doing so he tears the shirt open (8:00 pm discretion with cleavage), exposing 
the dougle-headed eagle pendant she is wearing.

FAVOR MOMBATEEKA

as he and the warriors react with surprise.

INSERT - THE PENDANT

around Lucia's neck.

BACK TO SCENE

The two warriors hold her but the would-be brain basher lowers the cudgel 
to ogle Mombateeka who stares at the pendant and mutters some mumbo-
jumbo.

EXT. THE JUNGLE - DAY

Corky races along after Jack.

JACK

dashes over a faint trail toward camera.  Without missing a stride he does a 
180 and dashes back the way he came.

INCLUDE SEVERAL CANNIBALS

in b.g. squatting on their haunches, around a small fire -- eating.  Thankfully, 
we cannot see what they eat, but must we?

FEATURE CORKY

making his way along, then Jack is there to stop him with a low growl and a 
darted look back the way he has come.

			CORKY
	Trouble ahead, Jack?

In reply, Jack barks twice, low, and leads Corly away in an oblique 
direction.

EXT. JUNGLE CLEARING/WATERFALL - DAY

Jungle sounds.  The clearing is far from idyllic, despite the waterfall.  (This 
is a harsh place.)  To one side is a crude but fairly substantial thatch hut, 
topped by a crudely carved Russian Orthodox Church cross.

CLOSER - THE HUT

as, carrying Lucia's pendant, Mombateeka moves onto the lanai.  As he 
heads down the steps and away, a tall, gaunt bearded man with a quiet 
saintliness about him moves onto the lanai.  He wars faded khakis and 
carries a tattered, Russian Orthodox Priest's cassock which he slowly dons.  
Around his neck is a pendant similar to Lucia's.

A DISTANCE FROM THE HUT AND CLEARING

several cannibals stand a little apart from Jake, Lucia and Alexi.  Alexi 
steadies himself with his (sword) can.  There is an air of taut contention 
between he and Lucia.  Midscene:

			ALEXI
	It can only mean one thing:  Anatoli Kuzmich Filipov _is_ alive.

			JAKE
	That seems a pretty sure bet.

Despite the contention and despite the years of familiarity, Alexi is facing 
royalty.  This overlays an anger and frustration that has built.

			ALEXI
	You cannot turn your back on what you are.  Not when proof is so 
	close.
			LUCIA
		(torn)
	Please, Alexi....

			ALEXI
	I have spent half my life in the attempt to prove your rightful 
	position as heir to the throne of Romanov.

			LUCIA
	And in only a small part of one day I have learned I do not want it.

			ALEXI
	I will no allow you to deny your duty.

			JAKE
	I'd say you don't have a whole hell of lot to say about it, pal.

			ALEXI
		(a target for his anger)
	What would you know about responsibilty to name?!  To station in 
	life?!  To..?!

He breaks off as Mombateeka steps up to gesture off with an accompanying 
unintellible mumbling.  Mombateeka returns the pendant to Lucia as she, 
Jake and Alexi head away.  The cannibals and Mombateeka accompany 
them only to the edge of the clearing.

AT THE HUT

The cossack-clad Priest waits expectantly on the lanai, squinting in the 
bright sunlight.

INCLUDE JAKE, LUCIA AND ALEXI

approaching in b.g.  Now the Priest turns and moves inside the hut.  Jake and 
the others move up to slowly climb the steps.

AT THE HUT DOOR

A moment of expectation and near reverence, then they exit inside.

INT. THE HUT - DAY

Subdued lighting; spartan; a raised pallet for a bed; tapacloth, gourds for 
cups and dishes.  A simple icon; a small, crude oil lamp for votive light.  A 
Bible.  The Priest is facing the icon as though in prayer.  He turns an almost 
saintly quality to Lucia who enters, followed by Alexi (again with his cane), 
then Jake.  Jake holds back some as the others converge.  Lucia holds her 
gaze on the imposing-looking Priest.  Contrary to her words of only 
moments ago, she slowly becomes infused with a sense of responsibility to 
her heritage, and with an understanding that she must fulfill her destiny.

			ALEXI
		(reverential)
	Anatoli Kuzmich Filipov?

			PRIEST
	Yes?

			ALEXI
		(the soldier)
	I am Alexi Suslov.

			PRIEST
		(nodding)
	The soldier saviour of our young princess.
		(beat)
	At long last.

			ALEXI
	This is....

			PRIEST
		(overlapping, to Lucia)
	Anastasia Nicolaevna Romanov.  I did not need to Royal pendant 
	Mombateeka brought to show me.  I need no further proof than to 
	look in your eyes.

			ALEXI
	But the proof is there.  The mark on her shoulder.  You remember?

			PRIEST
	A kiss from the angel who brought her to her parents.

			LUCIA
	I remember you as a towering figure.

			PRIEST
	You were only a child.

			LUCIA
	Yet, I remember.
		(beat, meaningfully)
	I remember many things.

			ALEXI
		(accusative)
	But she is choosing to forget ---

			LUCIA
		(cuts him off)
	Alexi....

			PRIEST
	To forget?

Jake reacts with patient understanding -- and a hint of regret; Alexi reacts 
with pride as, her innate, quiet regality evident:

			LUCIA
	I am Anastasia.  I am the rightful heir to the House of Romanov; to 
	all its lands.  And all it's glory.  I need you Anatoli Kuzmich 
	Filipov.  And I need you, Alexi.  Together, with the help of nations 
	loyal to our sovereign right, we will restore the greatness that once 
	was Mother Russia.

			PRIEST
		(firm resolve)
	The decadance that once was will never be restored.

			LUCIA
	I have heard tales of injustices to our people.  True or not there will 
	be no....

			PRIEST
		(overlapping; resolve becomes dedication to a cause)
	They were not _tales_!  They were horrors of everday life!  I lived 
	them!  With others who lived them, I helped destroy the evil that 
	was Romanov!

			ALEXI
		(fear since realized; resignation to fate)
	You are not Filipov....

			PRIEST
	Filipov is dead!  He has _been_ dead for years!
		(to Lucia)
	But for you he was kept alive.  For you he was rumored to be here.
		(beat)
	With bribes and coersion and trickery the unspeakable savages of 
	Tongaree have been unwittingly allied to our goal of destroying the 
	last of the Romanovs.  And now, so they shall.

Jake has inched closer and now jumps him.  The big man barrels him away 
and steps to him, hand thrust in the cassock pocket.

INSERT - HAND IN CASSOCK POCKET

the Priest withdraws a knofe and thrusts it at camera.

ON SCENE

Jake is stabbed in the side.  He staggers back in pain; suprised at the 
suddenness of the knife thrust.  Alexi takes two steps toward the Priest, and 
raising the sword-cane, touches the trigger.  The blade snaps open.  As he 
thrusts, the Priest parries with the knife.

CLOSER

A moment of mano a mano and Alexi is stabbed.  He staggers back, mortally 
struck.  Now Jake, who has pushed himself to his feet, lunges at the priest as 
the latter steps to the hut door.

ANGLE TO SUIT

a brief, violent and silent struggle:  gasps; grunts.  Lucia looks on in horror.  
Then the Priest screams a long drawn out scream.  His struggles stop.

EXTERIOR HUT CLEARING - DAY

Mombateeka and the others react.

INTERIOR HUT - DAY

Jake is pushing free from the priest's body.  The knife protrudes from the 
dead man's chest.  Jake retrieves Alexi's sword-cane and pulls Lucia toward 
a reed hut window.

EXTERIOR HUT - DAY

Mombateeka and several cannibals race forward and up the steps.

INTERIOR HUT - DAY

Jake is just about to climb out the window after Lucia as Mombateeka and 
the others burst in.  Jake turns and hurls the sword-cane, spear-like.  The 
blade buries itself in Mombateeka's heart.  In the ensuing moment of panic 
and shock, Jake dives out the window.

EXTERIOR REAR OF HUT - DAY

Jake gains his feet, grabs Lucia's hand and races away into the jungle.

EXTERIOR HUT - DAY

A cannibal charges out and to camera to rent the air with a drawn out, high 
pitched warbling cry.

EXTERIOR CANNIBAL VILLAGE - DAY - VARIOUS QUICK ANGLES

As the cannibals react and begin to stream away in answer -- knives, axes, 
and cudgels in hand.

EXTERIOR THE JUNGLE - DAY - VARIOUS ANGLES

As Jake and Lucia hurry away through the heavy undergrowth.  Off screen, 
faint cries:  frightening, high pitched; unique in their eeriness.

EXTERIOR THE LAGOON - DAY - AT THE GOOSE

Todo holds a lifeboat-life craft (the power launch?) close to the Goose's 
open hatch.

INTERIOR THE GOOSE - DAY

Princess Koji and Willie.  A kind of pall hangs over the moment.  Willie 
rummages in the aft storage compartment.  During this:

			WILLIE
		(deeply troubled)
	I just cannot believe it.
		(a faint prayer that)
	Your messenger couldn't say for sure that....

			PRINCESS KOJI
		(overlaps)
	As long ago as they were taken prisoner, Willie...they are all dead.

			TODO
		(laughs)
	Mombateeka is very hungry.

			PRINCESS KOJI
		(demanding decorum)
	Todo...!
		(regretful)
	We are all mortal, Willie.
		(beat)
	I promise I shall find a way to make Mombateeka pay for killing 
	them.

As he retrieves Lucia's suitcase.

			WILLIE
	Poor Jake.  I really liked him.

Despite her gloom of the moment, Princess Koji is pleased at the sight of the 
suitcase -- business is business.

			PRINCESS KOJI
	She _did_ bring it with her.

			WILLIE
	As you thought, safer than leaving it in her room at the Monkey Bar 
	Hotel.

			TODO
	Not as safe as carrying it with her into the jungle, however.

The suitcase has been opened, the clothes are now dumped, and the secret 
compartment opened -- revealing the jewelry.  During this:

			WILLIE
	It is almost like robbing a grave.

			PRINCESS KOJI
		(retrieving handful)
	It is not as though....

A closer look -- a gaping -- a jeweler's eyepiece is retrieved from the folds of 
her dress.  An examination of a piece of jewelry, then another, then....

			PRINCESS KOJI
	Paste!

			WILLIE/TODO
	Paste!  Counterfeit!  She is a fake!

			PRINCESS KOJI
	I do not know about that.

			WILLIE
	But you said they were fake!

			PRINCESS KOJI
	A woman of means often reproduces her finer jewelry...
		(at his look, a chuckle)
	In case she comes across people like us!

She looks.  Todo joins in.  And Willie starts to return the jewels and clothes 
to the suitcase.  Princess Koji is suddenly serious.

			PRINCESS KOJI
	Poor Jake.  May God rest his soul.

EXTERIOR THE JUNGLE - DAY - ON JAKE

sweat dripping from his face; tense, alert, listening.  Off screen the cannibal's 
cries.  Jake pulls Lucia after him and dashes away.

SOME CANNIBALS

cry their blood-curdling falsetto vibrato as they move through the jungle 
bent on violent revenge.

THREE ANGLES

more of the same:  cries and movement, to get the feeling they are closing in 
on their prey.

THE JUNGLE

The cries carry over.

JAKE AND LUCIA

move at a breakneck pace through the verdant undergrowth, pushing it aside 
to hurry on.  Off screen, the cries.  Jake's wound is evident, but that does not 
deter his flight.

CORKY AND JACK

now together, stand looking about, surrounded by the cries.  Corky clutches 
tight to the rifle.

NEW ANGLE

as the undergrowth bursts open nearby.  Corky whirls and raises the rifle.  
Jack yelps in terror.  And Jake and Lucia appear.  Corky's legs almost give 
out beneath him.

			CORKY
	Jake!

			JAKE
	I knew I could count on you, Corky.

Jack barks.

			JAKE
	Yeah, you too!

			CORKY
	You've been shot!

			JAKE
	Nothing to worry about.

			CORKY
	Them screams what I think they are?

INCLUDE A CANNIBAL

axe raised, high pitched cry, as he suddenly appears and Corky raises the 
rifle, killing the native.

			CORKY
	They're what I think they are?

			JAKE
	Let's go!

And they dash away, Jake pulling Lucia along.

FAST TRUCKING

the greenery slaps at them as they dash headlong through the jungle.

ANGLE

Just as Jake, Lucia, then Corky dash past camera:

QUICK CLOSE

a cannibal leaps into the frame with a victory cry and...

WITH JAKE, LUCIA AND CORKY

as they hear the cannibal's cry.

A RUN BY

Jack, Jake, Lucia and Corky.  The off-screen cannibal's cries seem closer.

FAVOR JAKE

The cries are ever closer.  Jake stops, shoves Lucia at Corky and grabs the 
rifle from him and:

			JAKE
	Get her out of here!

NEW ANGLE

No time to argue.  Corky and Lucia race away.  Jack stays with Jake.  The 
quickest of silent exchange of respect and a cannibal appears.  Jake kills 
him.  Then another is killed.  A third cannibal leaps at Jake from an oblique 
direction before he can swing the rifle.  An off-screen shot kills the cannibal.

INCLUDE SARAH AND MIRASLAVSKI

who has killed the cannibal with a 9mm clip-fed pistol (like the priest's).

			JAKE
	What are you doing here?!!

			SARAH
	Leaving!

And all three do just that -- on the run, as the latter fire at random at several 
natives who appear to be driven away by the barrage of gunfire.

FAST TRUCKING

Jake, Jack, Sarah and Miraslovski dash along.

WITH THE THREE DEAD CANNIBALS

just killed, as five others come upon them.  They scream bloody murder.  
Then one gives a different (signal-like) cry.  He repeats it.  Off screen the 
vibrato cries die out to silence.

WITH CORKY AND LUCIA

as they burst out of the jungle and onto the beach-like clearing.  They stop, 
nearly exhausted, and look about.

INCLUDE THE GOOSE

some distance away down the beach.  Yanking Lucia along, Corky races 
toward it.

AT THE GOOSE

Princess Koji's power launch has left.  Corky and Lucia race up from the 
background to splash into the water and to the aft hatch.  As Corky starts to 
help Lucia into the plane:

JAKE, JACK, SARAH AND MIRASLOVSKI

No off-screen cries now as they race from the background to camera to stop, 
nearly exhausted, and in low tones:

			SARAH
	Maybe they gave up?

			JAKE
	Maybe.
		(beat)
	Will you tell me what the hell you're....

			SARAH
		(overlaps)
	I was told to help.

			MIRASLOVSKI
	Your government learned of my mission.

			JAKE
	What mission?

			MIRASLOVSKI
	I am Fedor Miraslovski.  Imperial White Army League.  Sent to 
	assist Anastasia Romanov...If indeed that is who she is.

			JAKE
	She's up ahead somewhere.

And, off screen, the faint sound of the Goose's engines being started.  All 
react, darting looks around as to zero in on the sound's direction, as:

			JAKE
	They made it!
		(beat)
	That way!

And he drags Sarah after him.  Jack leads.  Miraslovski hurries after them.

ANOTHER ANGLE

as they hurry along.

AT THE LAGOON

as Jake, Jack, and Sarah and Miraslovski break out of the jungle to look 
about -- and we see the Goose a good distance away.  They start toward it.

AT THE GOOSE

It is untethered, riding in the water, ready for instant takeoff.

IN THE GOOSE

Corky is at the controls.  He sees Jake and the others approaching from far 
down the beach.  A grin of relief and he starts to swing the Goose around as 
to taxi across the water.

ON THE BEACH

as Jake, et al., run along.  Then several cannibals burst from the jungle onto 
the beach, between the Goose and Jake.

FAVOR THE CANNIBALS

who start toward Jake, et al., on the run.  The Goose skims along toward 
them.  Now several more cannibals appear.  Too many to try and kill before 
being overrun.

THE GOOSE

glides toward the threatened slaughter.

WITH JAKE, JACK, SARAH AND MIRASLOVSKI

with no other recourse:

			MIRASLOVSKI
	I'll try to slow them down!  Get her to the plane!

Jake hesitates but has no choice.  He picks up Jack and he and Sarah splash 
through the surf toward the Goose as it closes ground.  Spears knife into the 
water near them.  Miraslovski fires carefully at the cannibals.

Intercuts to suit:

CORKY

works the Goose close enough for Jake to grab hold of a wing pontoon and 
Sarah, who now clutches tight to Jack.  More spears are hurled at them -- all 
misses, but close.

QUICK MIRASLOVSKI

is overrun.

JAKE AND SARAH

scramble aboard the Goose as it continues on out of harm's way.

FULL - THE GOOSE

skims on away for a takeoff to climb ever higher and wing its way back to 
Boragora, as:

			JAKE'S VOICE
	Boragora's not a bad place to stop at for a while....

EXTERIOR BORAGORA - NEAR THE CLIPPER - DAY

Passengers are boarding.  Nearby Jake is talking to Lucia who is about to 
board.

			JAKE'S VOICE
	...to let life sort of ease around you.

JAKE AND LUCIA

There is a clear sense of mutual respect and liking; a kind of affection born 
of shared dangers.

			LUCIA
		(vague amusement)
	Somehow I have the feeling life doesn't 'ease around you' very 
	much of the time.

			JAKE
	You know what I mean.

			LUCIA
	Yes, I know what you mean.  And I would like to stay very much...
		(meaningful)
	I would like to hear your 'long story.'  But I cannot.  I have to go.
		(vague challenge)
	As you feel you must stay.

			JAKE
	It's not a must.  I like it here.

			LUCIA
		(small shrug)
	We each have a reason for what we do.

			JAKE
	I hope you find your answers.

			LUCIA
	I hope you find yours.
		(beat)
	Goodbye, Jake Cutter.

			JAKE
	Goodbye, Anastasia.

While each might prefer at least a kiss on the cheek, they settle for a warm 
handshake.  Then Lucia turns to join those boarding the Clipper.  Hold, then:

EXTERIOR THE CLIPPER - STOCK

as it streaks away for a takeoff.

Intercut:

JAKE

watching.

FEATURE SARAH

watching Jake, empathetic (but she'd never let him know).  Now he turns and 
sees her.  They fall in step and head toward the Monkey Bar.

			SARAH
	Tough.

			JAKE
	What's that?

			SARAH
	You missed being a postscript in history.

			JAKE
	Story of my life.

			SARAH
	If it'll help...I'll buy you a beer, kid.

He looks at her and just as their grins begin we freeze frame for:

					FADE OUT


			_THE END_



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