_ACT ONE_ FADE IN EXTERIOR. ON THE GOOSE - DAY - STOCK as it cruises through the soft white clouds dotting the Pacific sky. INTERIOR. COCKPIT - FEATURE JAKE and sleeping in the copilot's seat it Jack. As Jake lights a cheroot..... JAKE'S VOICE OVER One of the first things you learn about flying is to keep your eyes constantly scanning the instrument panel, without actually reading the instruments. It's hard to explain unless you've done it for a couple of thousand hours, but eventually if something's wrong you'll subconsciously pick it up. CLOSE ON JACK snoozing away. Suddenly his ears prick up and his head lifts. JAKE'S VOICE OVER Or your copilot will. FEATURE JAKE as he looks over at Jack. JAKE What is it? Jack sits up and stares at the port engine. CLOSE ON PORT ENGINE purring along like a Cheshire cat. BACK ON JAKE He scans the instruments, then looks to Jack JAKE Everything's fine. Jack barks once and continues to stare out the window. Jake checks the sky then puts on his radio headset and tunes the transmitter. As he does ... JAKE'S VOICE OVER The second thing you learn about flying is to listen to your gut, or in this case your copilot's. If Jack was uneasy, chances are something was wrong. (beat) It could be that he sensed I was cutting across a corner of the Japanese Mandate to save time and simply didn't like it. (beat) Could be ... but wasn't. The port engine backfires and belches a streamer of black smoke. ON THE GOOSE She starts descending, trailing a long strak of black smoke from the sputtering port engine. BACK ON BOTH - FEATURE JAKE He struggles to hold the Goose. JAKE It's okay, buddy. We can limp home on one engine. Jack barks once and looks across the starboard engine. Jake turns and looks at the starboard with widening eyes. JAKE Oh - - no. Jack barks twice and the starboard engine backfires and belches a streamer of black smoke. ON THE GOOSE Both engines streaming smoke as she drops through the clouds towards the ocean below. JAKE'S VOICE Mayday. Mayday. (beat) Cutter's Goose calling Boragora. CUT TO INTERIOR. MONKEY BAR - DAY - CLOSE ON SHORTWAVE RADIO We can hear Jake's Voice coming over the speaker, but we also hear a loud commotion. The camera pans off the radio to reveal an empty Monkey Bar. Through the doors and windows we see everyone on the veranda watching a fight in the street. JAKE'S VOICE (over the radio) Mayday. Mayday. Both engines out. I'm going in. EXTERIOR. STREET OUTSIDE MONKEY BAR - DAY The clipper is in port and the street is jammed with passengers and locals watching a one-armed man and a burly tourist fight. Watching from the veranda are Louie, Sarah, Corky, Gushie and Willie. SARAH Someone's got to stop them! CORKY (looks around) Ah ... Sarah. We can't do that. SARAH But it's barbaric! That poor man only has one arm. LOUIE (leaning in) That poor man as you call him was once the middleweight champion of France. The one-armed man begins to whip his opponent silly with his empty sleeve. LOUIE (leaning in) He hasn't lost a fight since I've been here. SARAH (catching on) You mean .... GUSHIE The passengers give terrific odds and we .... LOUIE (finishing) ... clean up, as you say in America. SARAH (disgusted) You know, Louie, all those things about the French being so civilized is a lot of ... of crepe suzettes! She turns and walks through the swinging doors into the Monkey Bar. We move in on the others. CORKY You know ... she has a point. LOUIE (to Willie) That's the trouble with Americans ... they listen to their women. WILLIE (nods) Jah. Corky looks sheepishly out to the fight which the one-armed man is definitely winning to the chagrin of the tourists. INTERIOR. MONKEY BAR - MOVING WITH SARAH as she crosses between the tables to the bar. She pours a cup of coffee from the carafe on the back bar. Outside the crowd is roaring. SARAH (to herself) Sometimes, I think the only civilized people in the world are .... JAKE'S VOICE (over the radio) Looks like I'll make it to an island. (beat) No lagoon. But there's a river. Sarah realizes it's Jake and he's in trouble. She races to the radio, picks up the mike and keys it. SARAH Boragora to Cutter's Goose ... over. CUT TO EXTERIOR. GOOSE - DAY Trailing smoke from both engines it clears the thick green jungle on a jagged peak and drops into a valley with a river. INTERIOR. COCKPIT - FEATURE JAKE Struggling to hold the Goose in the air, he can't pick up the mike to talk. SARAH'S VOICE (over his headset) Boragora to Cutter's Goose ... are you there? Jack barks twice. JAKE Can't talk now, Sarah! Better brace yourself, Jack. ON JACK He trots back through the bucking airplane to his crash position. ON THE GOOSE as it banks sharply, engines smoking, over the river and dives down. CLOSE ON JAKE Cheroot firmly clenched in his teeth, he pulls the Goose out of the bank and levels off over the river. ON THE GOOSE She slams into the muddy water like a dying bird and skids towards the heavy foliage of the riverbank. ON JAKE As the Goose cuts through the trees, Jake bits down so hard on the cheroot that it snaps in two. A limb smashes through the copilot's window and, despite the seat belt, Jake's head snaps forward into the windscreen. ON JACK He is slammed into the back of the cargo seat, then dropped upside down onto a parachute pack. ON THE GOOSE It crashes to a groaning stop, half on the bank and half in the river. The tall thin jungle trees collapse over it. Gradually, the sounds of the terrible crash fade away and all we here is the static of the radio and.... SARAH'S VOICE (over the speaker) Boragora to Cutter's Goose. Come in Jake. Please come in! CUT TO EXTERIOR. JUNGLE TRAIL - DAY - ON PAUL A blond, ten year old, who's a little small for his age, wearing a black Amish hat, blue shirt, suspenders and buttoned trousers. He's carrying an old shotgun that's slightly bigger than he is and listening intently, having obviously heard the sound of the crash. Suddenly the cry of a big cat cuts though the jungle background. ON JUNGLE BIRDS as they explode from the undergrowth nearby and fling themselves upward to the safety of the tall leafy trees. CLOSE ON PAUL He cocks the shotgun and brings it up to the ready. Paul looks frightened, but determined to stand hi ground. For an agonizing moment there is no sound, then something creeps through the underbrush on his right. He whirls toward it. PAUL'S POINT OF VIEW - UNDERBRUSH The thick foliage a dozen meters away, shakes slightly. BACK ON PAUL He quickly pulls the shotgun to his shoulder and fires. The recoil of the 12-gauge knocks him on his little Amish ass. CUT TO EXTERIOR. HOMESTEAD - DAY The farm looks out of place in the islands with its clapboard house and barn decorated with hex symbols. There's a horse and pony in the corral, a couple of island chickens running around and the usual collection of goats and pigs. The sole cow is being milked by an Amish woman in her late twenties, called Martha. Even in the severe dress and without makeup, Martha is a wholesome, attractive woman with blonde hair and rosy cheeks. As the distant roar of the shotgun reaches her, we move .... CLOSER ON MARTHA She looks up in alarm. As the echo dies away, she moves the pail aside. MARTHA (to cow) Sarah, thee will have to wait. The cow moos as Martha runs to the corral, throws a rope bridle over the horse and mounts it barebacked. She kicks her heels in and the horse leaps out of the corral and into the jungle. CUT TO MOVING WITH PAUL He slowly creeps forward, shotgun at the ready towards the underbrush. With the barrel, eh mvoes aside a huge leaf peppered with holes from the pellets to reveal ... JACK lying in the dirt, bleeding from a wound in his rear leg. PAUL (surprised) You are not a tiger! Jack looks at him like he's nuts and barks once for an emphatic "no!" PAUL I ... I did not mean to shoot you. (checks the wound) It does not look too bad. Does it hurt. Jack's attitude is "hell, yes, stupid" so he barks twice. PAUL (catching on) Does that mean 'yes'? Jack barks twice again. Paul grins and looks up as.... MARTHA'S VOICE (in the distance) Paul! (beat) Paul! Where are thee? Paul stands and yells out. PAUL Over here! ANOTHER ANGLE - FEATURING MARTHA as she rides into view through the jungle and dismounts. MARTHA (angrily) How many times have I told thee not to touch that shotgun! PAUL (determined) I am hunting the tiger. MARTHA I told thee to leave that murderous cat to thy Uncle Amos! (spots Jack) Lord in heaven ... thou has shot a dog! Jack barks twice ... at last someone with some brains. As Martha makes a bandage from a piece of her petticoat and tends to the wound .... PAUL I think that means 'yes.' MARTHA (examining Jack) A one-eyed dog! (beat) Where in heaven did you come from? PAUL I think he came from whatever made that crashing noise by the river. Jack barks twice. PAUL See. He did! MARTHA Paul. Dumb animals cannot speak. Jack growls and Martha looks at him with surprise. At that moment, we hear the scream of the tiger from somewhere nearby. ANGLE ON THE HORSE It whinnies, eyes wide and looks ready to bolt. Martha grabs the bridles and soothes the animal. Paul is listening, gun at the ready. MARTHA Come son. Ride with me. PAUL Mother! He is near. I can kill him. Martha is not going to argue with him. She grabs him by the ear and pulls him towards the horse. MARTHA Get up on Abraham now or thou shall not sit for a week! Reluctantly Paul mounts the horse and watches as his mother swings up behind him. She takes the reins and he holds the shotgun. MARTHA Come dog. There is warm milk at home for you. Jack barks once and looks back into the jungle. PAUL See. He wants to hunt the tiger, too., MARTHA Then he can hunt it alone. At that moment something moves through the jungle where Jack is looking. Martha tries to rein the horse around but Paul grabs the bridle and holds it back. PAUL Wait! I can kill it! Paul brings the shotgun up and is about to fire when Jack barks once. Paul lowers the gun slightly and looks at Jack who runs into the jungle. A beat later, he emerges with.... JAKE dazed and bleeding from a head wound. He stumbles out of the brush and collapses at their feet. CUT TO INTERIOR. MONKEY BAR - DAY- CLOSE ON SARAH She is standing beside the radio with everyone gathered around on both sides of the bar. SARAH It was Jake's voice. He said that there was no lagoon and he was making for the river! WILLIE Anything else? SARAH (angrily) Who could tell with all that noise! Louie grabs the mike. LOUIE Boragora to Cutter's Goose. Come in please. Over. They wait, but all they hear is static. ON CORKY He comes pushing through the crowd with an arm full of aerial charts and spreads them on the bar. He looks very worried CORKY I shoulda gone with him. SARAH It's not your fault. GUSHIE You had our generator to fix, Corky. CORKY (angry at himself) To help pay my bar tab. If I didn't drink I wouldn't have a bar tab and I'd been with Jake and Jack. LOUIE And all three of you would be down and we wouldn't have the vaguest idea where to search since despite my protests, Jake never files a flight plan. WILLIE (to Corky) But you know where he went, jah? CORKY (touch relieved) Yah! Louie leans over the map and looks to Corky. LOUIE Jake took off for Tagataya this morning. CORKY To pick up that champagne for you, Louie. (tracing map) Then he was going to drop off mail at the Gillson plantation on Saint Bordeaux. Ah ... after that he had to deliver supplies to the leper colony on Croix de Noir. And then ... SARAH (encouraging) And then ... CORKY (trying hard) And then ... (panics) I can't remember! The crowd sighs and Corky looks like he wants to shoot himself. CUT TO INTERIOR. HOMESTEAD CABIN - DAY It is clean and simple; a wood-burning stove, plain hand-crafted Dutch furnishings, a few photos in frames and lanterns or candles for lighting. The door opens. Martha and Paul half-carry Jake though the door and to a chair by the table. His head has been bandaged and he looks a bit woozy. Jack limps in behind them. As Martha rushes to put water on the stove ... JAKE (weakly) Sorry to be so much trouble. PAUL (helping take off Jake's jacket) You are a Flying Tiger, are you not? Jack barks twice. PAUL Does that mean yes? JAKE In this case it means I used to be. PAUL (excited) See Mother. I told thee the dog could talk! (to Jake) How many of them did you get? Martha returns to the table with some cloth, water and antiseptic. MARTHA Paul. Put thy father's gun back over the fireplace and finish milking Sarah. JAKE Sarah? MARTHA Our cow. PAUL Aw, Mother. Do I have to? MARTHA Now. That poor animal will be in pain if thy do not. JAKE Fella ought to listen to his mom. PAUL Yes, sir. Paul hangs the gun on the pegs over the fireplace. JAKE Jack, why don't you go with him. Jack looks at Jake like he's nuts. JAKE Please? Jack reluctantly limps out after Paul. ANOTHER ANGLE Martha unwraps the bandage and goes to work on Jake's wound. She appreciates what Jake did and for the first time warms up to him. MARTHA It seems your dog does not wish to obey you anymore than my son does me. JAKE Well, he's still angry at me for losing his eye. MARTHA How did you do that? JAKE It's a long story. Martha dabs at the wound with antiseptic. MARTHA This will hurt a little, but must be done. (beat) Who are these Flying Tigers? JAKE (gritting teeth) Volunteer outfit. Mostly American pilots who fly for the Chinese. MARTHA (tensing) And when Paul asked you how many you got? JAKE He wanted to know how many Japanese planes I shot down. She stiffens and dabs a little harder. Jake winces. MARTHA Sorry. But her attitude is suddenly colder and Jake notices it. MARTHA (finishing) I have done all I can, if you are hungry I will feed you. JAKE (confused) Thank you. FEATURE JAKE He takes in the room for the first time as Martha goes to the stove and ladles him a bowl of soup. JAKE You're Quakers, aren't you. MARTHA Amish. JAKE (relieved) Thank God. MARTHA (turns to him) What? JAKE I was short-cutting across the Japanese Mandate when my engines quit.. (to himself) Probably fuel contamination. (to her) Anyway, I hoped this island was on the French side of the border. She brings the food to him and he begins to woof it down. MARTHA What difference would it make? JAKE Plenty. The Japanese wouldn't be too friendly to an ex-Tiger. At the very least they'd confiscate the Goose...that's my plane. MARTHA (sitting) And at the worst? Jake looks at her and shrugs, he doesn't have to say it. He takes another spoonful of soup and a bite of bread. JAKE This is wonderful... (seeing her look) What's wrong? CLOSE ON MARTHA She looks up at him. MARTHA This is not the French Marivellas. You have landed on Koti-Ri in the Japanese Mandate. CLOSE ON JAKE He has suddenly lost his appetite FADE OUT _END OF ACT ONE_ _ACT TWO_ FADE IN EXTERIOR. JAPANESE ZERO - DAY - STOCK It flies past high overhead, flittering in and out through the tall canopy of trees. EXTERIOR. JUNGLE - DAY - FEATURE JAKE He is watching the high-flying Zero. Jack and Paul are with him and the Goose is in the b.g. Jake is wearing an Amish hat, shirt and trousers. The only thing of his he has on is his pistol. PAUL That is the evening patrol. There is also one at dawn. JAKE (looks at Goose) Good thing she ran up on the bank. Instant camouflage. PAUL You could shoot him down! Jack barks once and Jake throws him a look. JAKE Not with the Goose. As Jake examines the engines, and opens a pitcock to drain the fuel from the tank, Paul follows him like a shadow, cradling the oversized shotgun. PAUL Did you shoot down many zeros in China? JAKE A few. PAUL Are you an ace? JAKE (tasting gas) Contaminated. I should know better than to buy gas from Tortuga Mary! PAUL Does that mean you will have to stay? JAKE I hope not. He closes the pitcock and moves under the wing. We hold on Paul who is obviously disappointed in Jake's answer. ANOTHER ANGLE - MOVING WITH JAKE as he looks over the Goose, working his way towards the half-open rear hatch. JAKE I can drain the water from the fuel tanks, then if I can start her, I should be able to fly out of here. (pleased) She's in better shape than I thought. If the radio's working, I'll call Boragora and ... He's reached the rear hatch and as he opens it the rest of the way ... CLOSE ON JACK The hacks go up on his back and he begins to growl at the hatch.. WIDER - FEATURE JAKE holding the hatch door and looking at Jack. JAKE What is it, Jack? Before Jack can answer .... ON THE TIGER as it literally explodes out of the hatch from inside the Goose. Simultaneously, the horse and pony rear and whinny in fear. Jack leaps after the tiger's tail snipping at it. Jake, who has been knocked aside by the charge, rolls over pulling his pistol, Paul cocks his shotgun and pulls it up to fire. And the tiger, confused by it all, takes off along the side of the Goose for the jungle. ON PAUL He lets loose with both barrels and is instantly catapulted backward on his ass. ON THE TIGER leaping past the Goose's cockpit as the shotgun blast tears into it. ON JAKE pistol ready to fire, but it's too late. The cat has disappeared into the jungle. He holsters his gun and helps Paul to his feet. JAKE Are you all right? PAUL (angry) I missed him! I missed him! Jack barks twice. JAKE Yah. (looks towards cockpit) But you got the Goose. Off Paul's chagrined look. CUT TO INTERIOR. COCKPIT Jake comes forward to inspect the damage from the crash and the shotgun blast. He looks over the instrument panel... it's in good shape, except... CLOSE ON RADIO punctured with shotgun pellets. We pan to reveal the magneto switch also shot away. BACK ON JAKE as Paul peeks in around him. JAKE You got the radio and the magnetos. I can't talk to anyone or start the engines. PAUL I'm sorry. JAKE Your mother's right. You're took young for that shotgun. PAUL I...I have to kill the tiger! JAKE What has the tiger done to you? PAUL It killed my father. On Jake's look... CUT TO EXTERIOR. DOCK AT BORAGORA - DAY- CLOSE ON CORKY standing at the edge of dock, staring out to sea. CORKY (trying hard to remember) Boragora to Tagataya. Tagataya to Saint Bordeaux. Saint Bordeaux to Croix de noir. Croix de Noir to...to.... (frustrated) Why can't I remember? He begins to pound his head against the wooden post, harder and harder. CORKY Why! Why! ON WILLIE as he runs up to Corky and pulls him away from the post. It's all he can do to control the grieving mechanic. WILLIE Mein Goot, Corky. Stop it! Corky finally half-collapses on a cargo box. Willie pulls a handkerchief and dabs at the cut Corky's opened by pounding his forehead. CORKY (anguished) I'm tryin' and tryin' but I just can't remember! WILLIE Perhaps you're trying too hard. You might remember if you relaxed a little. CORKY (shakes his head) Relaxin' is what ruined my memory in the first place! (off Willie's look) I drink to relax. WILLIE Oh... (helpful hint) You know, personally, I find giving a blessing to be most relaxing. CORKY (doubtful) I'd probably just fall asleep. ANGLE ON LOUIE AND SARAH as they come down the dock to join them. SARAH What happened to your head? CORKY Ah ... I bumped it. (hopeful) Any word? SARAH We know where he's not. LOUIE Jake made all the stops you said. I talked on the radio to Tagataya, Saint Bordeaux and Croix de Noir, The Sisters of Mercy at the leper colony said he took off after having lunch with them. WILLIE He ate at a leper colony? As the others give Willie a distasteful look, Corky is computing in his head ... at best a confusing process. CORKY Then...he'd only have enough fuel to fly straight back here, unless... SARAH Unless what? CORKY He filled his tanks at Tortuga Mary's and I told him never to do that! LOUIE Why not? CORKY Her fuel drums are rusty, you can get half water in your gas. Jake wouldn't have done that unless he had to fly to ... to ... They all hold their breath ...Corky seems on the verge of remembering. SARAH (gentle encouragement) To ... Corky shakes his head in defeat...he can't remember. CUT TO EXTERIOR. JUNGLE CLEARING - DAY - CLOSE ON SHOTGUN Two rounds are chambered and the receiver snapped shut. We widen to reveal... JAKE AND PAUL standing in a jungle clearing with the horse and pony tied off behind them. Jack is watching from way behind them. JAKE'S VOICE OVER I'd only known a couple of men with as much determination as this ten-year-old, blue-eyed Amish boy. So, with some misgiving, I decided to teach him how to shoot. (beat) Since he'd shot Jack and the Goose both in the same day, you might say I was teaching him in self-defense. Jake hands the shotgun to Paul and points towards a big jungle leaf he has hung from a tree limb. JAKE You've got to hold it as tight as possible into your shoulder. Aim, take a breath, let it half-out and squeeze the trigger. But most of all ... you have to know what you are shooting at! PAUL (sheepishly) Yes, sir. He holds the shotgun tight to his shoulder, takes a breath and begins to squeeze the trigger. CLOSE ON JACK. He turns and looks away. BACK ON PAUL as he fires. The leaf is shredded. And although he rocks back, he isn't knocked on his ass by the recoil. PAUL (amazed) It did not knock me down! JAKE It won't. As long as you keep it tight in your shoulder. PAUL (excited) Will you show me how to quick draw? JAKE (laughs) Paul. I'm not a cowboy. PAUL I would wager thee are faster than Buck Jones! Jake notices the change in the way Paul addressed him. JAKE First time you said 'thee' to me. PAUL (shyly) We say that to family and friends. (beat) Was I wrong to do so? JAKE (tousles his hair) No. Thee were right. Paul beams. Jake looks around ... it is getting dark. JAKE We'd better get back before dark. ANOTHER ANGLE as they mount the horse and pony. PAUL Thank thee, Jake, for teaching me. (determined) Now, I can get the tiger. JAKE I'm still not sure about that. (beat) Or why that tiger's here. They're not indigenous to these islands. PAUL I .. diginous? JAKE It means that nature didn't put them here. PAUL Oh, no, the Japanese did. JAKE Why? PAUL Uncle Amos says to force us out. JAKE Doesn't make sense. If the Japanese didn't want you here, they'd just kick you out. PAUL The Emperor deeded this island to us for all eternity. Only he could ask us to leave and Uncle Amos says he doesn't want to. JAKE (figuring it) But the Japanese military does? PAUL That is what Uncle Amos says. Their Army wants to build an airfield and fortress on the island. JAKE Sure. It's right on the French border. (beat) Are there any Japanese soldiers here? PAUL Yes. In town. But they don't come out here. (smiles at clothes) Besides they will think thee are Amish. JAKE I'm not worried about that. A garrison will have a shortwave. If I can get to it and radio Boragora, my friends can figure out how to get me a magneto. Then, Jack and I can fly outta here. Jack barks twice. JAKE Will you show me the way to town? PAUL (slowly) Yes, sir. JAKE (smiles) Thank thee, Paul. Jake wheels his horse around and kicks him into a trot down the jungle path. Jack follows. CLOSE ON PAUL His eyes are full of disappointment. PAUL (Softly) Thee are welcome. CUT TO INTERIOR. HOMESTEAD HOUSE - NIGHT - CLOSE ON MARTHA as she stirs a pot over the stove. She seems agitated. Suddenly she stiffens at the sound of footsteps on the porch. Behind her the door opens and Jake and Paul come in side by side followed by Jack. Before Jake can say hello .... MARTHA (angrily) Ezikiel! How many times have I told thee not to keep Paul out after nightfall! JAKE (confused) What? MARTHA (points) Buck Jones has been waiting for hours to speak with him. Jake turns and looks. JAKES POINT OF VIEW - CLOSE ON BUCK JONES A large soldier wearing a Japanese Army uniform, a white cowboy hat, six- guns and boots. He is rocked back on a chair, his spurs dug into the top of the table, eating a piece of pie with his hands. He stares at Jake. BACK ON JAKE for his reaction FADE OUT _END OF ACT TWO_ _ACT THREE_ FADE IN INTERIOR. HOMESTEAD - NIGHT - ON BUCK He slowly rises to his feet and adopts a gunfighter's stance. When Buck speaks it is a strange patois of Western film lingo with a Japanese accent. BUCK You hain't Ezekiel. MOVING WITH MARTHA as she crosses to Jake and Paul. MARTHA You do not recognize my brother without his beard. She gives Jake a sisterly peck on the cheek. MARTHA (whispers to Jake) You once beat him at checkers. (aloud) Will thee stay for supper? JAKE (Amish accent) Yes. Thank thee. MARTHA Good. Paul, hang thy shotgun up. (to Jake) Thee, too, Ezekiel ... take off thy pistol. Jake shoots her a look, but there is nothing he can do. He unbuckles the gun and hangs it on the edge of the fireplace. Paul is visibly disappointed. BUCK Never seen Ezekiel pack a gun. PAUL We were hunting the tiger. (pointed) You know the one. MARTHA Paul...wash up. MOVING WITH JAKE He crosses with Paul to the sink and begins to pump water for the boy to wash. Throughout the scene they take turns doing this for each other. PAUL (whisper to Jake) Why did you not take him? Jake ignores the question and smiles at Buck. JAKE (to Buck) How about some checkers tonight? Buck just stares at him. Finally.... BUCK Why'd you shave your beard? PAUL (whispers) Thy wife died. JAKE My wife died. I shaved it in mourning. Paul rolls his eyes a bit, evidently that isn't what he had in mind. Buck crosses to Jake, spins him around and slaps Jake hard across the face. CLOSE ON JAKE He almost lashes out with a right. But Martha grabs his arm. MARTHA Turn thy cheek, brother. Jake puts his temper under control and slowly bares the other cheek. Buck slaps it, playfully. BUCK (laughs) I hain't sure you're Ezekiel, but you're an Amishman. CLOSE ON PAUL He is on the verge of tears he's so disappointed in Jake. PAUL (choking it back) I...I have to milk Sarah. He runs out the door. ANGLE ON ALL - FEATURE BUCK as Paul slams the door. Jack growls behind Buck. Buck whirls, whipping his pistol out in a move that would have done the real Buck Jones proud. JAKE Don't! BUCK (pistol on Jack) I didn't know you had a dog...A one-eyed dog. JAKE (to Jack) Moses...stop thy growling. CLOSE ON JACK He looks at Jake like he's nuts, but turns and trots under the table to lie down. BACK ON ALL Buck twirls his pistol like a Hollywood cowboy and slips it back into the holster. Then he resumes his seat at the table and begins consuming more pie. Jake sighs in relief and sits across from him. Martha puts a plate of soup in front of him As he eats and she moves back and forth serving more and more food. To anyone not an Amishman it would be a feat. BUCK (chewing the pie) One of our patrol boats saw a plane in trouble today. It appeared to head towards our island. MARTHA (sarcastically) Our island? BUCK (ignores her) I'm ridin' the circuit to all the ranches. Seein' if any of the ranchers saw anythin'. MARTHA (serving more food) These are not ranches, they are farms. And we are not ranchers anymore than you are a ... JAKE (cutting in) Sister! Does thee have any milk? For a moment it looks like Martha is going to press it, then she picks up a pitcher from under Jake's nose and pours a mug of milk. JAKE (smiling) Thank thee. MARTHA (pointed) Thee are welcome. BUCK So you saw nuthin'? JAKE Just the tiger. BUCK (alarmed) Did you shoot it? JAKE No. Buck laughs, licks the pie off his fingers and stands. He carefully sets the hat on his head exactly like Buck Jones in the movies. BUCK That was a dumb question. (beat) If you hear anythin' of that plane .... He touches the brim of his hat in a Western gesture and moseys over to the door. As he opens it .... CLOSE ON JAKE He's been thinking. JAKE Perhaps you would like a game of checkers later. I can ride into town. BUCK No. We are running the film. JAKE (Without looking up) I don't blame you. One should not be beaten in front of his comrades. WIDER - FEATURE BUCK as he turns back. BUCK (low) If you want to challenge me, Ezekiel, do it with a gun. MARTHA (quickly) Brother. Thee knows it is against our beliefs to fight. BUCK (laughs) Being a man is against Amish beliefs. CLOSE ON JAKE He turns and looks at Buck. JAKE (Straight) If you can beat me at checkers tonight, I'll meet you tomorrow with a gun. ON BUCK He is surprised, but pleased. He laughs. BUCK An Amishman with guts? (beat) I'll be waitin'. He turns and walks outside. MOVING WITH PAUL who has been listening at the door as he races in and around the table. Martha is obviously disappointed in Jake. PAUL (jubilant) I knew it! I knew thee were no coward! I knew thee could outdraw Buck! He begins to make shooting sounds and slapping his side as if he were drawing a pistol. MARTHA Paul! Finish thy milking! PAUL (still shooting) I knew it! You are going to kill Buck just like I am going to kill the tiger! MARTHA Paul! He races back outside still shooting. ON MARTHA She slowly sits down next to him. MARTHA Can you outdraw him? CLOSE ON JACK He barks once. BACK ON JAKE AND MARTHA He looks at Jack, then goes on eating. JAKE I'm a pretty good checker player. Again, Jack barks once. JAKE (to Jack) Better than you. MARTHA (confused) Why did you challenge him? JAKE I've got to use their radio. And don't ask me how, I haven't figured that part out yet. But that checker game will get me into the area. After a beat .... MARTHA You are willing to walk into the lion's den and yet you turned the other cheek? Why? JAKE (looks up to her) It's your house... your religion. Jake goes back to eating. JAKE I haven't had food like this since I left the States. MARTHA Would...thee like more? Jake looks up slowly, her form of addressing him wasn't a slip of the tongue. JAKE Yes. (beat) If thee would. She smiles and moves to the stove. We hold on Jake, he is beginning to like this pretty Amish widow. CUT TO INTERIOR. SALOON - NIGHT - CLOSE ON MOVIE SCREEN It is nothing more than a sheet strung between two posts. Through the hazy cigarette smoke we see the flickering image of a 1930 Buck Jones movie. JAKE'S VOICE OVER The Japanese are an interesting people with a culture unique in all the world. But for some reason they have an almost insatiable desire to borrow from our culture, especially Hollywood movies. CLOSE ON BUCK beer in his hand, watching every move his hero makes on the screen. Around him, the Japanese soldiers are whooping it up, too. JAKE'S VOICE OVER Somehow, The Army garrison had got hold of a Buck Jones western and Buck had taken it to heart. (beat) If it had been a Cagney film I'd probably be facing a Japanese gangster. We move past Buck towards the saloon doors to ... CLOSE ON PAUL with Jack beside him, as they peek under the swinging doors at the movie. Paul loves it! We rise to reveal Jake and Martha looking over the top of the doors. Jake is studying the room. JAKE'S POINT OF VIEW It is a typical island structure that has been taken over by the Japanese for their barracks and headquarters. A number of sleeping mats are spread out in one section with military gear at the heads. The bar is still functioning and two Japanese girls work behind it. One corner is draped with a huge Japanese flag and this seems to serve as the office. CLOSER ON OFFICE The shortwave radio is there. A soldier with a headset slipped down around his neck is seated in front of it, but he too is watching the film. EXTERIOR. SALOON PORCH - NIGHT Martha reaches down and pulls Paul out from under the door by his britches. MARTHA Thee knows films are not permitted. PAUL Aw, Mom. MARTHA We are here to help ... Ezekiel, not sin. Jake smiles and squats down beside Paul JAKE You think you can do it? PAUL Yes, sir. Tune the transmitter to one-five-five. Press the button on the mike to talk. Tell whoever I get to tell the Magistrate on Boragora that the Goose is up the river on Koti-Ri near the waterfall and you need to magnetos to get her out. JAKE (tousles his hair) Good lad. MARTHA What if another Japanese radio picks up thy message? JAKE That's a chance I'll have to take. (looks back inside) I have to figure a way to get that radioman away from his set. Jake turns and looks down at Jack. CLOSE ON JACK He looks up at Jake, knowing what he wants. He marks "no!" ON ALL - FEATURE JAKE AND JACK as our hero pleads with Jack for help. JAKE It's the only chance we have of getting out of here. Paul looks from Jack to Jake .. he doesn't want him to leave. JAKE Please. Jack looks back inside, then finally barks a reluctant "yes." Jake lets out a sigh of relief, but Paul is obviously disappointed. JAKE (to others) Ready? They nod. Jack, of course, barks "no." Jake shoots him one last look and pushes through the swinging doors. INTERIOR. SALOON - FEATURE BUCK as Jake, Martha, Paul and Jack step up behind him. He is watching the end of the movie. The lights come up and he stands, with out group still unseen behind him. The other soldiers in the room look to him. It is obviously part of their nightly ritual. BUCK (in Japanese) Who's the fastest gun in the West? SOLDIERS (shout) Buck Jones! Buck whips his pistol out in lightning fast draw and whirls to an unsuspecting Jake, holding the six-gun dead at Jake's heart. BUCK (smiles) Didn't think I knew you were behind me, did you, pard? PAUL (defiant) He knew! JAKE No...I didn't. Buck laughs, twirls the six-gun and slips it back into the holster. The soldiers in the room break into laughter. ANOTHER ANGLE revealing a green blaized table where the checkerboard has been set up. Buck whips his hat off in a gallant gesture to Martha and indicates for her to sit. BUCK What'll you have to drink, little lady? (off Martha's cold look) Ezekiel? JAKE (sitting) Whatever you are having. BUCK (to bargirls) A bottle of red-eye. Jake almost laughs. If the situation weren't so deadly it would be comical. Buck leans in towards him. BUCK (confesses) We don't have red-eye, but sake will do. JAKE Fine. Jake glances at Paul and Martha. They look around. All the soldiers are gathered around the table except the radioman. MOVING WITH THE BARGIRL as she crosses with the sake. Buck and Jake toast, toss down the sake and refill their cups ... it is evidently going to be a drinking contest,t oo. FEATURE JAKE He drinks another cup then makes his first move. As Buck leans foeard to move his checker. Jake looks down at Jack. CLOSE ON JACK sitting on the wooden floor. He sighs and trots off between the legs of the soldiers. ACROSS JAKE TO PAUL who is watching. Jake motions with his eyes and Paul imperceptibly nods and backs out of the pressing crowd. ON RADIOMAN sitting behind the desk, headset around his neck. He is reading a Japanese version of a period "girlie" book and is glancing over at the crowd around the checker table. Suddenly, her hears a low growling noise. He looks down. ON JACK He trots past the radioman's putteed leggings, sniffing and growling obviously on the trail of something. BACK ON RADIOMAN as he stretches his neck to watch Jack, who has disappeared around the corner of the desk. We hear a deep growling. The radioman gets up and peeks around the corner. ANOTHER ANGLE ON BOTH Jack is looking around the next corner, growling. RADIOMAN (in Japanese) What is it? A rat? Jack looks up and barks twice (of course he speaks Japanese, he's Jack.) The radioman grabs a broom lying against the wall. As he moves to follow Jack his headset almost jerks his head off. He removes it. MOVING WITH JACK He looks back, making sure he's being followed, then continues sniffing and growling around the desk and eventually towards a far corner of the room. The radioman follows him with the broom. In the b.g. we can see the checker game going on. ON PAUL He is now at the edge of the crowd. He eases away and moves towards the desk. ON THE CHECKER GAME - FEATURE JAKE He is tossing down sake and playing. Martha looks quite frightened and Jake gives her a reassuring smile. JAKE Do not worry, sister. He cannot beat me. On that Buck captures another piece and laughs. Jake smiles back, but he's in trouble. As he makes a move, he glances out of the corner of his eye towards the radio. ON SHORTWAVE SET We see a hand reach up and tune the dial from below the desk. It stops on one-five-five. MOVING IN ON PAUL seated on the floor behind the desk where he can't be seen. He pulls the mike down to hum and puts his thumb on the button to key it. Then he stops ... there are tears in his eyes. PAUL (to himself) But, I do not want thee to go home. As he struggles with that... CHECKER GAME - FEATURE JAKE It is nearly over. Both men have equal pieces left and the first one to make a slip will lose. Jake smiles at Martha who is as tight as Jake is loose. Buck pours them another sake. As he does Jake glances over at the radio. It is a movement that Buck catches. He appears puzzled, trying to figure out what Jake is looking at. Jake catches this and does the only thing he can ... he makes a quick checker move. Buck looks down at the move, then up and smiles. He makes a double jump and the game is over. ANOTHER ANGLE The soldiers break into a "banzai" cheer. Martha's face is ashen white. Jake gives a grim smile. Buck slowly stands. BUCK Tomorrow, Ezekiel. At high noon. In the street. Jake nods. As he stands to get up, he sees.... PAUL coming towards the table. He has been crying and we don't know if he sent the message or not. _END OF ACT THREE_ _ACT FOUR_ FADE IN EXTERIOR. JUNGLE ROAD - NIGHT The night sounds of the tropics are broken by hoofbeats and an open Amish buggy appears on the moonlit road. As it is drawn past camera by the high-stepping Abraham.... MOVING WITH THE BUGGY Jake is behind the reins. Paul is asleep to him on his mother's shoulder. Jack is trotting along behind the rig. MARTHA (looking up) I will never get used to them. Jake also looks up. THEIR POINT OF VIEW - THE SOUTHERN CONSTELLATIONS They appear to be drifting over the moving canopy of trees. MARTHA'S VOICE The stars here are so different from the ones I wished upon as a girl. BACK ON BOTH as they stare up at the night sky JAKE I know what you mean. Strange stars...strange land. MARTHA (looks at him) Have thee been to many strange lands? JAKE (after a beat) I guess more than my share. MARTHA Why? Jake turns to her in surprise...the question has caught him totally off guard. JAKE I...don't know. My life just seemed to turn out that way. (beat) Flying's part of the reason. I flew the mail in the Army from one end of the States to the other. After that, picking up whatever flying job I could took me to Central and South America. Then the Civil War broke out in Spain and I flew for the Republicans. After that China and the Tigers. MARTHA Does thee like war? JAKE No sane man likes war. MARTHA That is not what I asked thee. Jake looks at her for a long moment, then... JAKE I like the camaraderie of war. The sense of life that it gives you because each day may be your last. But that isn't why I went to Spain or China. (beat) Maybe it sounds silly in 1938, but I like to think I fought for the right cause. That I did the honorable thing. MARTHA There is nothing honorable about killing or being killed. JAKE Perhaps not. But sometimes it has to be done. MARTHA (tense) Is that why thee will face Buck tomorrow? JAKE I guess so. Martha turns and pulls her son tighter to her. MARTHA That is not the philosophy of a mother. JAKE (smiles) Funny. My mother taught it to me, but then she was an unusual woman. (looks to Martha) You are like her in many ways. MARTHA (shocked) Me? JAKE Un-huh. You say what you feel. So did she. MARTHA And thy father? JAKE (sobering) I never really knew him. MARTHA I am sorry. Were thee very young when he died? After a beat .... JAKE He didn't die. (beat) He and my mother were never married. MARTHA Oh! JAKE I've only told that to two other people in the world. I don't know why I said it to you. Jake looks back to the road. For a moment they ride in silence, then.... MARTHA (softly) Jake.... (beat) I do not want thee to die tomorrow. Jake turns to her and she leans across to him. She kisses him gently at first, then with a passion that surprises Jake. VERY CLOSE ON PAUL He seems asleep, but then we see one eye open and he smiles. CUT TO INTERIOR. MONKEY BAR - DAY jammed with passengers getting ready to depart on the clipper. Luggage is moving in and out, last minute souvenirs are being purchased, lavish island breakfasts are being washed down with rich French coffee and a woman is screaming as.... TODO enters the Monkey Bar in full samurai armor. He looks at the terrified woman as if he's going to eat her for breakfast. The woman's husband rushes to her side to calm her. FEATURE LOUIE as he pushes through the crowd, all smiles. LOUIE Gushie! See that Mrs Docksteder is given a bottle of cognac on the house. GUSHIE'S VOICE Got you, boss. LOUIE (to Todo) Ah, Todo, mon ami. Is she here? TODO Hai! He turns and opens the swinging doors. ON PRINCESS KOJI She enters dressed in a beautiful traditional Japanese kimono that brings gasps from the clipper passengers. She is followed by two handmaidens and two warriors in battle dress. LOUIE (bowing low) Welcome Princess to the Monkey Bar. (rises) Tea is set in the billiard room, s'vous plait. PRINCESS KOJI (in French) Ah... tea sounds delightful. Louie turns and leads the procession through the Moneky Bar to the billiard room. ON SARAH AND CORKY watching from near the bar. SARAH (envious) Oh, brother, talk about overdoing it. She looks like something out of a third-rate carnie show. CORKY (innocently) Gee. I think she's beautiful. (off Sarah's look) I...I mean if you like women in silk kimonos ...with long black hair...and ... Sarah pulls him with her towards the billiard room. SARAH Come on before you put your foot in so far you choke to death. INTERIOR. BILLIARD ROOM - DAY- CLOSE ON TEAPOT as it pours. We pull back to reveal Gushie, wearing a clean, but faded French legionaire's jacket, complete with decorations, doing the pouring. Princess Koji accepts the porcelain cup from him and with a node to Louie sips the tea. PRINCESS KOJI (in French) It is very good. Your own blend, Magistrate? LOUIE (in French) Yes. I am pleased you like it. I have it imported from Siam. Sarah steps forward. She has had enough of these niceties. SARAH Could we get on with this. PRINCESS KOJI (to Louie) I see the impudent American songster hasn't learned manners since our last tete-a-tete. SARAH (angrily) Just a minute, you over-dressed.... CORKY (cuting in) Sarah. You're forgettin' about Jake and Jack. Sarah looks like she's going to continue for a moment, then she backs down. SARAH You're right. They're all that matters... for the moment. CLOSE ON WILLIE as he comes bursting through the billiard room doors. WILLIE (excited) I just got in from Tagataya and heard you got a radio message from Jake. At the sight of Todo and Princess Koji his jaw drops. The two handmaidens giggle and wave a little greeting. He goes white. CORKY Gee Reverend. I think they know you. WILLIE (too quick) Nein! I never saw these little liebchins before in my life! TODO Ha! Princess Koji is enjoying watching Willie squirm. Louie motions to her and Todo. LOUIE But, of course, you know Princess Koji and Todo. WILLIE TODO Nein! Hai! WILLIE I mean...I ... we might have met once. I believe the Princess donated some money to my humble mission on Matuka. Let's see, that would have been a year ago...perhaps two. It was during the... SARAH (cutting in) Can we please get on with this? WILLIE Jah. Jah. Of course. (beat) What are we doing? ANOTHER ANGLE - FEATURE LOUIE as he steps forward and sits before Princess Koji LOUIE I was about to ask the Princess' aid to get Corky and a pair of magnetos to an island in the Japanese mandate called Koti-Ri. PRINCESS KOJI And I was about to grant it. SARAH (surprised) You were! The Princess nods and Todo produces a paper and pen which he places on the billiard table in front of Louie. PRINCESS KOJI (smiling) In exchange for exclusive rights to the pearl fields in the French Mandate for one year. CORKY Gosh. That's gotta be worth a... ah.... GUSHIE A million francs. CORKY A million francs. CLOSE ON LOUIE He looks at the contract and then at the Princess. It's too long a hesitation for Sarah. SARAH Louie! Louie sighs and picks up the pen. As he signs ... LOUIE Oh, well. I can always add it to Jake's bill. EXTERIOR. HOMESTEAD CORRAL - DAY Jake is tightening the cinch on Abraham's saddle and watching the sunrise though the palm trees. He realizes this may be the last sunrise he ever sees. Jack yawns and looks to Paul who comes out of the rain with a full pail of Sarah's milk. PAUL I will be with thee, as soon as I give mother the milk. Jake takes the pail from him for a moment. JAKE Paul. I want you to go down to the river and wait by the Goose. PAUL The Goose! I am going to town to watch thee kill Buck. Jake squats down beside Paul and takes him by the shoulders. JAKE My duel with Buck will not be something worth watching. One of us will die and there will be no joy in that. Someday you will understand. (stands) Now, I need you at the Goose in case someone picked up your radio message and my friends can sneak in. ANOTHER ANGLE - FEATURE PAUL as he lowers his eyes and confesses to Jake. PAUL (softly) I almost did not send it. JAKE (smiles) I know. PAUL (surprised) Thee knew! JAKE (nods) But you did send it and that's all that matters. ANOTHER ANGLE - FEATURE JAKE He swings up into the saddle, wheels the prancing Abraham around and looks down to Paul. JAKE (smiles) Thee did what thee knew was right and thee always will. Jake kicks Abraham into a trot. We hold on Paul watching with tears in his eyes. EXTERIOR. HOMESTEAD PORCH - DAY Martha walks out to the edge of the porch wearing an apron as Jake rides up. They look at each other for a long moment, then .... MARTHA I hope thee like shoo-fly pie. Jake sniffs the air. JAKE Never had it, but it smells good. Like home. MARTHA It will be ready by one. JAKE I'll be back. Abraham prances a bit, seeming to sense the tension. MARTHA God protect thee. JAKE And thee. He spins Abraham and kicks him into a gallop. Jack races after them in the dust. MOVING IN ON MARTHA Paul runs into her arms and she pulls him tight. There are tears in her eyes. PAUL Jake will be back! Just thee wait and see! (beat) Jake will be back! THEIR POINT OF VIEW - ON JAKE as he rides into the sunrise. MOVING WITH JAKE He eases Abraham into a steady canter with Jack trotting alongside. CUT TO EXTERIOR. BARRACKS/SALOON - DAY The Japanese soldiers are lounging on the porch, waiting. Evidently the word has spread throughout the island farms, for a number of buggies are in evidence and a crowd of Amish men and women are gathered across the street from the saloon. CLOSE ON BUCK as he comes out of the swinging doors. He sets his hat and pulls on a pair of black gloves. After he putts them on, he whips out his pistol in the fastest draw we've seen yet. ANGLE ON AMISH They visibly flinch and draw back. ON THE SOLDIERS And they laugh, enjoying the fright Buck's given to the Amish farmers. CUT TO EXTERIOR. JUNGLE PATH - DAY - ON PAUL riding his pony, shotgun across the pommel, on the trail to the river. PAUL (to pony) Do not worry, Elijah. Jake will take Buck. I just wish thee and I could.... His thought is abruptly cut by the terrifying scream of the tiger from somewhere nearby. The pony rears in fright, tossing Paul. Then it spins and races off down the road towards the homestead. CLOSE ON PAUL He rolls over in the dirt and looks up for his shotgun. The tigers screams again, even closer. CUT TO EXTERIOR. BARRACKS/SALOON - DAY - CLOSE ON BUCK'S WATCH It is a minute before noon WIDER ANGLE - FEATURE BUCK He winds the stem and puts the watch back into his pocket. Beside him a soldier cries out softly and points. Buck turns to see... JAKE riding into town. He stops Abraham in front of the saloon and for a long beat both men stare at each other, then... JAKE We do not have to go through with this. BUCK (smiles) Yes we do, Ezekiel. Jake nods and dismounts. Buck edges away and the soldiers and Amish on both sides of the street give them room. As Jake ties Abraham to the porch post.... JAKE One thing... you understand the code of the West? CLOSE ON BUCK he's not sure. All he knows is one Buck Jones' movie. BUCK Sure. ON BOTH - FEATURE JAKE He finishes tying off the reins and moves to the saddlebags. JAKE Whoever wins can ride out of here unharmed and there will be no retaliation by either side. BUCK (nods) You have my word. JAKE (nods towards soldiers) Tell them. Buck smiles and turns to his men. BUCK (in Japanese) If I die. You let him go and do nothing to the Amish. I have given my word as a soldier. Jake looks down to Jack. JAKE Sound right to you? CLOSE ON JACK He barks twice. CLOSE ON JAKE He smiles and opens the saddlebags. JAKE Me too. BUCK You've stalled long enough Ezekiel. Jake pulls his Flying Tiger jacket and cap out of the saddlebags and begins to put them on. The Japanese soldiers are suddenly chattering to each other. JAKE (drops Amish accent) It's not Ezekiel, Buck. (beat) It's Cutter. Jake Cutter. CLOSE ON BUCK For the first time since we've seen him, Buck looks shaken. He realizes he's not going up against some farmer, but an American fighter pilot. CUT TO EXTERIOR. JUNGLE PATH - DAY - MOVING WITH PAUL as he edges along the trail towards the river. The sounds fo the jungle seem unusually subdued. He whirls as something moves in the foliage on his right, but he doesn't shoot. A few more cautios steps, then.... CLOSE ON THE TIGER as it leaps onto the path a few meters in front of Paul. The damn thing must be fifteen feet from its nose to the tip of its tail. It snarls, viciously, baring its fangs. CLOSE ON PAUL eyes wide with fear. For a moment it looks like he'll panic and run, then he swallows his fear and brings the shotgun tightly to his shoulder. He takes a deep breath and we ... CUT TO EXTERIOR TOWN STREET - DAY The Amish watching from one side. The Japanese soldiers from the other as Jake and Buck move into the middle of the street. CLOSE ON JAKE He tucks the flap of his holster behind the belt, freeing the big six-gun. CLOSE ON BUCK He adopts a gunfighter's stance, flexing his fingers beside his gun. CLOSE ON JACK watching from under an Amish wagon. EXTREMELY CLOSE ON JAKE He bites so hard on the cheroot he nearly breaks it in two. ON BUCK'S GUN HAND He flexes the fingers one more time then holds steady ... read to draw. CUT TO EXTERIOR JUNGLE PATH - DAY - CLOSE ON THE TIGER The tiger snarls and leaps towards the camera. MOVING IN ON PAUL as he pulls the trigger and the shotgun roars with the double explosion of both barrels. CUT TO EXTERIOR TOWN - DAY - CLOSE ON BUCK as he draws in a blurred whirl and fires. CLOSE ON JAKE A split second behind as he draws and fires. CUT TO INTERIOR. HOMESTEAD KITCHEN - DAY - CLOSE ON MARTHA She jerks her head up from the table as if she heard the shots. Then, as the echoes die away, she runs to the door. EXTERIOR. HOMESTEAD - DAY Martha races out of the house just as the pony comes racing in without Paul. MARTHA Oh, God! She hikes up her skirt and takes off running towards the path to the river. MOVING WITH MARTHA as she sprints down the path. LOW ANGLE - ON THE TIGER lying dead in the f.g. as Martha runs up. She stares, panting, at the tiger for a moment, then looks around. MARTHA (shouts) Paul...Paul! Where are thee! EXTERIOR. RIVERBANK - DAY- WIDE ON THE GOOSE. Paul steps out of the rear hatch and yells... PAUL Mother! Over here! ON MARTHA She hitches her skirts again and races towards the Goose. As she reaches Paul, she sweeps him into her arms and smothers him with kisses. PAUL (glancing back) Mother...please, thee are embarrassing me in front of Jake's friend. She looks up to see... CORKY emerge from the Goose. He's got tools in his hands and has been working on the magnetos. CORKY Hi. Nice boy you've got there... even if he talks a little funny. ANGLE ON ALL - FEATURE MARTHA as she laughs and hugs Paul to her again. PAUL (excited) Did thee see the tiger? MARTHA Yes, son, I saw him. I saw the tiger. PAUL (sadder) Jake was right. It did not feel good to kill him. I was just scared and I think the tiger was too. CORKY I dunno about that. I remember once when Jake and I ran into a man- eating tiger in India during a monsoon. We were flying supplies into this little village near... ah... (trying to remember) ...ah... JAKE'S VOICE Djakarta. CORKY Djakarta! (looks up) Hiya, Jake. As Martha and Paul look up.... CLOSE ON JAKE astride Abraham, Jack at his feet. His left arm is bleeding but other than that he seems fine. He dismounts and squats by the dead tiger as Paul races to him and throws his arms around Jake's neck in a killer hug. PAUL Thee are alive! (beat) Thee did it! Thee killed Buck! Jack barks twice. JAKE (soberly) Yes. I killed Buck. Paul pulls back a little and looks down at the tiger. PAUL (softly) Jake... there is something I must tell thee. We pull back from the scene and.... FADE TO BLACK _END OF ACT FOUR_ _TAG_ FADE IN EXTERIOR. JAPANESE ZERO - DAY -STOCK It flies past, high overhead, flittering in and out through the tall canopy of trees on its morning patrol. EXTERIOR. JUNGLE - DAY - FEATURE JAKE He watches the Zero disappear into the distance. JAKE I guess the soldiers in town are honoring Buck's word. He turns and we widen to reveal Martha standing beside him. Paul is playing with Jack a few feet away. Behind them, Corky is in the cockpit of the Goose, which has been cleared of debris and is facing down river, ready for take-off. MARTHA They are an honorable people. There is an awkward moment with so much to say and yet neither is willing to say it. Finally, Jake turns towards the Goose. JAKE (yells) Crank 'em up! CORKY (nods) Clear! CLOSE ON THE BIG ENGINES as they slowly crank over and fire with the usual belch of black smoke. BACK ON JAKE AND MARTHA He turns back to her ... he has to say it! JAKE Martha... She puts her finger to his lips and stops him. MARTHA Thy world and mine are too far apart. JAKE World's getting smaller every day. She leans forward on her toes and kisses him, gently at first then throwing her arms around his neck in a passionate kiss. ANGLE ON PAUL AND JACK Jack yawns and Paul rolls his eyes. INTERIOR. COCKPIT - ON CORKY He nods, knowingly, what else would Jake be doing on an island for two days. ANGLE ON ALL - FEATURE JAKE as he parts from Martha. He turns and picks up Jack, then tousles Paul's hair. JAKE Take care of thy mother. PAUL Yes, sir. They look at each other a moment, then Jake wades into the water and drops Jack into the hatch. He climbs in and just as he is about to close the hatch, he looks back. JAKE (shouts to Martha) God protect thee! CLOSE ON MARTHA Tears in her eyes. MARTHA (shouts back) And thee! Then Jake closes the hatch. Paul moves into her arms. PAUL Jake will be back, Mother! Just thee wait and see! Jake will be back! INTERIOR. COCKPIT - DAY- FEATURE JAKE He climbs into his seat and takes the throttles from Corky. Then, he looks out towards shore. JAKE'S POINT OF VIEW - MARTHA AND PAUL standing on the riverbank. They smile and wave. BACK ON JAKE He looks longingly at them. CORKY Jake... could we get the hell outta here? Jack barks twice. Jake turns and pushes the throttles forward. ON THE GOOSE as it accelerates down the river on its take-off run. ON MARTHA AND PAUL waving and smiling through their tears. INTERIOR COCKPUT - ACROSS JAKE AND CORKY as the Goose bumps along, picking up speed. CORKY Something's been driving me nuts. JAKE What? CORKY Where did you go after you left the leper colony on Croix de Noir? Jake puts a cheroot in his mouth. JAKE I flew a load of oil over to the Pace Plantation on Saint Michelle. CORKY (nods) Saint Michelle! Why couldn't I remember that? JAKE Probably because I never told you. CORKY (nods) Oh. Sure, that makes sense. (realizes) You never told me! JAKE (innocently) No. (beat) Was it important? On Corky's murderous look, we ... FREEZE FRAME _THE END_
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