_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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