_ACT ONE_ FADE IN EXTERIOR JUNGLE - DAY Camera searches the dense forest shadows until it discovers Sarah, prone under the cover of vegetation, focusing the telephoto lens of a 35mm camera on something below. Intercut the following: SARAH'S POINT OF VIEW - CLEARING - DAY - TELEPHOTO MATTE In the clearing are three Moro guerrillas, armed to the teeth. The belts of ammunition crossing their chests and scarlet forehead bands make them look just as fierce as they actually are. A man in a U.S. Army officer's uniform, his back to the camera, is in serious conversation with Enrique Vasquez, one of the Moros. SARAH (muttering) Come on, turn -- turn. The Army officer strides toward his waiting staff car, finally turning towards the camera. SARAH That's it...give us a nice smile, Mac. From the angle of his hat and his jutting corncob pipe we may recognize General Douglas MacArthur. The shutter clicks and the shot freeze frames into a black and white photo. Motion begins again and returns to color. Sarah clicks the shutter again. Freeze frame. MacArthur shakes hands with Vasquez, the Moro leader. Click! ON SARAH Satisfied, Sarah puts down her camera and watches as MacArthur climbs into his olive drab staff car. She's about to put the camera into her kit bag when a curious whistling sound alerts her. The sound grows louder and louder and suddenly terminates in a thunderous explosion on the edge of the clearing. Dirt, trees and debris hurtle into the air. Sarah emits an involuntary shriek and covers her head. ON THE CLEARING The Moros have hit the dirt, MacArthur crouching for cover inside the staff car. As the debris from the first round rains against them, the whistle of another artillery shell is right behind the first. Vasquez urgently shuts MacArthur's car door and gestures that he make a hasty exit. The General's driver throws dirt with the car's rear tires, fishtailing as he pounds the accelerator. The staff car roars away, bouncing on the rude jungle rut. More shells explode as Vasquez and his men disappear into the bush. WITH SARAH running. An artillery round splits the ground beside her and throws Sarah. Shaken, ears ringing, Sarah gets painfully to her feet and stumbles into a retreating Moro guerilla. SARAH'S POINT OF VIEW - MORO GUERILLA He raises a machete over Sarah's head. ON SARAH Frozen with fright, Sarah can hardly force out a scream, but when it comes, there is a mortal note of terror to it. DISSOLVE TO EXTERIOR SKY - DAY - ANGLE TO ISLAND - THE GOOSE Boragora lies ahead and below as the Goose wings over and slides down towards its distant lagoon. JAKE'S VOICE OVER Flying an airplane for a living is a lot like driving a truck...and a lot different. No speed limit for one thing. No Highway Patrol either.... INTERIOR THE GOOSE'S COCKPIT - DAY - JAKE He's flying along, Jack curled up, asleep in the copilot's seat. Jake wearily adjusts the throttles to let the Goose down for a landing. His drawn, distracted expression is matched by a disgruntled manner that tells us he's a man for whom life in general has gone as sour as the old, cold cigar butt in his teeth. JAKE'S VOICE OVER But, the end of the road looks just as good...That is, it would if the people you cared about were there. Having trimmed his plane, Jake sighs and slides his window open a notch, sticking his face in the blast of air. He takes a deep breath, then reaches for a match to rekindle the cigar. JAKE Look alive, Jack. We're home. No response. JAKE Maybe they've heard something from Sarah. ON JACK He's suddenly alert, sniffing the air. He sits up, stands in the seat to peer through the window, and barks twice. BACK WIDE - FAVOR JAKE He brightens, puzzled but pleased at Jack's reaction. JAKE Yeah? You think so? Jack looks toward Jake, about to speak, when suddenly he sneezes. A beat, then he sneezes again. Jake has just curled a mouthful of smoke his way. JAKE Bless you. (mock offense) I guess this prime length of old rope offends your refined nose. You used to like me to blow a puff in your face now and then. One bark. JAKE Yes, you did. Especially those little green ones I used to get in Singapore. Jack is about to bark his denial when he's caught in another sneezing fit. Jake watches this with growing alarm. JAKE Bless you again. (realizing) It's your allergy, isn't it? Jack snuffles, but manages one bark. Jake rolls his eyes at the lie, then concentrates on the landing. EXTERIOR BORAGORA LAGOON - DAY - THE GOOSE as Jake drops her into the water. JAKE'S VOICE Why won't you even admit you're allergic to something? The Goose settles and slows in the gentle chop, home. EXTERIOR BORAGORA - DAY - FROM SHORE The Goose is tied off at the end of the dock. Jake and Jack walk toward us. JAKE How about papayas? You ate a whole one this morning in Tagataya. One bark. JAKE You're right, it can't be the papayas 'cause you came down with this last year in China and they don't have papayas. I thought it was kumquats then. One bark. JAKE Right again. No kumquats in the South Pacific. By now they've crossed onto the sand between the dock and the hotel. Jake's words are caught in his throat by what he sees ahead. JAKE'S POINT OF VIEW - HOTEL PORCH Louie, Corky, Gushie and Willie are sitting on the porch watching Jake approach. They project such a stunned, distraught mood...it would freeze anyone in his tracks. WIDE After an initial shock, Jake closes on the porch. No one has said a word. Jack sneezes. It hardly relieves the tension. ON CORKY He's red eyed, his face a mirror of woe. As if with a second mind, detached from the moment, he reacts to Jack's sneeze with a small laugh. CORKY (vague) Got your allergy back, huh, Jack? THROUGH THE GROUP TO JAKE He is riveted by whatever unspoken specter has brought this silent group out to meet him. Jake's reply to Corky is automatic. He seeks the answer from face to face. JAKE That's what I've been telling him. (beat) What's wrong? Louie looks up, formal, braving the moment but having great difficulty. His words convey the worst by their very softness. LOUIE It's Sarah.... Not sure what it is about Sarah Louie refers to, Jake scrutinizes his friend, trying out a hopeful smile. JAKE Don't tell me she finally sent a postcard? Louie shakes his head and hands Jake a wireless flimsy. CLOSE ON JAKE as he reads it. He swallows hard and looks up. JAKE I don't believe it. ANGLE ON ALL They all nod, knowingly. They felt the same way when they first read it. LOUIE You mean you don't want to believe it. JAKE (waving the flimsy) Louie, did you check this out? LOUIE I haven't been able to raise Manila on the shortwave...but the wire is authentic. WILLIE From the American Consulate. JAKE (angry) I don't care if it's from FDR, I still don't believe it! (searching for an answer) How could Sarah have suddenly died from hepatitis when we haven't even heard from her for a month! CORKY (softly) Maybe she was too sick to write. Corky's logic hits Jake right in the gut, taking the wind out of his argument and anger. Jack sneezes. Each person on the porch says "bless you" in their native language. Louie stands and puts an arm around Jake. LOUIE Come, mon ami. I'm buying. With Louie in the lead, one by one, the others file inside the bar. DISSOLVE TO INTERIOR MONKEY BAR - DAY - CLOSE ON JACK He looks worried, lying on the piano, head between his paws, watching Jake. We pull back to reveal Corky plunking out a half-hearted attempt at "Am I Blue." Jake is rocked back in a chair, feet up on a table. Louie and Willie are equally relaxed, sort of staring out into space. The parrot is even quiet. The rest of the bar is practically deserted. JAKE I was just tryin' to remember. How many guys we lost in China? Corky looks up from the piano, his tone flat. CORKY Ah...there was Whittaker...and, ah...Lindstrom...and those two new guys in one day...ah.... JAKE Martelli and Burns. I think there was seven in all...in eleven months. Jack barks twice. CORKY You'd think a guy'd get used to losing friends. Corky searches for his beer mug and realizes it's empty. He looks to Jake.... CORKY Jake, can I.... JAKE Sure, Corky. I think we can drop the limit for today. CORKY (to Willie) How about you, Reverend? Ready for another? Willie swings around slowly in his seat and bows. Corky gestures with the glasses to the bartender. WILLIE (thickly) She was a beautiful, beautiful girl. A delight. I will always cherish the vision of her there, at the piano, her slender body outlined by the clinging folds of a sheer dress. I suppose I shall forever wonder --- ANGLE FAVORING JAKE Not really amused, Jake can't help but smile at the predictable track of Willie's thoughts. CORKY Wonder what? LOUIE (covering for Willie) What religion she was. I don't believe she ever told us her faith. WILLIE Jah. I will never know her...faith. Such a beautiful, beautiful girl. Danken. WIDE Gushie has rolled up with refills. Willie takes his glass of schnapps from Gushie's tray. He clinks glasses with the others and they drink. Jake reaches out a hand. JAKE Let me see it again, Gushie. GUSHIE It hasn't changed. JAKE I know. Just let me see it. Gushie produces the wireless flimsy and hands it to Jake. JAKE I wonder how people found out friends were dead before the age of telegrams... (looks it over) Hepatitis. It's 1938. How in God's name can people still be dying of hepatitis. LOUIE Manila is not Paris...or New York. I don't think they have the latest medical facilities. JAKE There's an American military hospital in Manila, why didn't she go there? WILLIE She probably didn't know about it. JAKE (shakes his head) How could she not know? She was there to help... Jake catches himself. Willie looks up, waiting for him to finish the sentence. JAKE (finishing) ...a friend who owned a bar. He's American. He should have known. (stands) I need some air. Willie is staring at him as Jake grabs his hat and exits. Jack immediately drops off the piano and trots after him. Willie turns and looks to Corky. WILLIE Who's this friend Sarah went to Manila to help? Louie holds his breath. CORKY (innocently) Don't ask me. I can't remember anything sober...half loaded, forget it! Corky takes a drink. Louie relaxes. But Willie is suspicious. CUT TO EXTERIOR BORAGORA DOCK - DAY Jake bites the tip off his cheroot as he walks out toward the Goose to think. Jack is trotting along behind him. JAKE'S VOICE OVER I don't know why I didn't come right out and say it...Sarah had gone to Manila on some sort of secret mission. What did it matter if the whole world knew Sarah Stickney White was a spy...now that she was dead. Jack sneezes. JAKE Bless you. Jack barks twice. Jake stops at the end of the dock and lights his cheroot. CLOSE ON JAKE as he finishes lighting the cheroot and stares out at the breakers foaming across the reef. We move in on his eyes. DISSOLVE TO MONTAGE ON FLASHBACKS starting with Jake's meeting Sarah in the series pilot at the dock on Tagataya, including part of the fight and where he gets hit on the head with a champagne bottle. Followed by the argument on the dock between Louie, Sarah and Jake in the _Shanghaied_ episode. Followed by the argument in the _Trunk From The Past_ episode on the pyramid steps where Sarah asks Jake, "...what's your plan...". Then we segue into the two of them kissing at the waterfall on Baku, and whatever other love montages we can build. Finally we.... DISSOLVE TO EXTERIOR BORAGORA DOCK - DAY - CLOSE ON JAKE The cheroot is smoked to a short stub. As we pull back from Jake's eyes, he tosses it in the water. Jack sneezes. JAKE Bless you. Jack barks twice and Jake looks down at him. JAKE I suppose you think I'm nuts? Jack barks once. CLOSE ON JACK as Jake squats down beside him. JAKE You don't think she's dead either, do you? Jack barks once. Jake smiles. SMASH CUT TO INTERIOR MONKEY BAR - DAY The bar is as we left it...Corky tinkling at the piano. Louie, Gushie and Willie drowning their sorrows. Suddenly the swinging doors burst open and Jake comes striding in with an aerial chart in his hand. He is fairly beaming with energy. JAKE Corky! We're gonna need plugs, an extra fuel pump, at least ten five-gallon cans...hell, all the spares you can find. CORKY Huh? JAKE (spreading the map on a table) Louie. I'll need a loan. Ah, fifteen hundred francs ought to do it. No, better make it two thousand. LOUIE Two thousand francs...for what? JAKE Corky and I are flying to Manila. Jack growls. JAKE (smiles at him) Sorry, and Jack. WILLIE Manila. That's over three thousand miles. JAKE (measuring) Three thousand two hundred and fifty...one. To be exact. (to Corky) Well come on. Move it! Corky breaks into a grin and hustles out of the bar. JAKE Gushie. I'll need all the sandwiches you can pack and some of that turtle soup...and oh, lots of Louie's special roast coffee. GUSHIE (wheeling away) I'll get the cook on it right away. I think there's some tins of pate back there, too. JAKE Terrific. He goes back to studying the map as Louie and Willie move in beside him. LOUIE Mon ami, this is senseless. JAKE (firm) Sarah isn't dead. I know it. (picks up wire) No matter who in the Manila Embassy says she is. WILLIE How can you be so sure? JAKE 'Cause if she was dead, I'd have told you.... Jake catches himself. He almost did it, again. WILLIE Told me what? JAKE (with a twinkle) That she had a secret yen for you, Reverend. WILLIE For me? You're joking. LOUIE (to himself) Mon Dieu, I don't believe this. Jake rolls up the map. JAKE Believe it. (beat) Can I have the two thousand? Louie stares at Jake for a moment, then grins and snaps his fingers. LOUIE (yells) Gushie.... ANOTHER ANGLE Gushie already has the money as he rolls up to Louie. Louie looks at him. LOUIE One of these days you're going to guess wrong. GUSHIE (smiles) But not today. JAKE (takes money) Thanks, Louie. As he goes out the door with Jack trotting behind him, we move.... CLOSE ON WILLIE, LOUIE AND PARROT watching Jake stride out. LOUIE I hope he is right. Willie is smiling with the thought that Sarah likes him. WILLIE Me, too. PARROT Oh, oh! Louie does a slow turn and stares at Willie as we.... CUT TO EXTERIOR BORAGORA - DAY - ON THE GOOSE She lifts off the lagoon and climbs up toward the puffy white clouds. INTERIOR COCKPIT - DAY The rear cabin is crammed full of spare parts, food, gas cans, everything Jake and Corky could think of they might need and then some. JAKE'S VOICE OVER It took us all morning to load the Goose. But we took off with enough food, fuel and parts to fly halfway around the world if need be. We were ready for anything. CLOSE ON JAKE He reaches into his pocket for a cheroot, pats it and looks panicked. JAKE Corky...I forgot my.... A cheroot is stuck under Jake's nose. WIDER ON ALL as Jake smiles, takes the cheroot from Corky and lights it. Jack sneezes. JAKE CORKY Bless you! Gesundheit. Jack barks twice. EXTERIOR GOOSE - DAY as it climbs into the clouds on its way to Manila. FADE OUT _END OF ACT ONE_ _ACT TWO_ FADE IN EXTERIOR SKY - DAY - THE GOOSE It changes altitude and bumps through a layer of heavy clouds. The engines miss and sputter, not sounding their best. JAKE'S VOICE OVER Everything has its limits. We'd flown right by ours after thirty straight hours somewhere around the Carolines and we didn't even slow down...much. INTERIOR THE GOOSE'S COCKPIT - DAY Jake and Corky show the wear and tear of all 3,500 miles. The cockpit is littered with maps, clothes, pillows and the remains of 1930s junk food containers. Jake is flying with one hand, massaging his shoulder with the other. JAKE'S VOICE OVER (continuing) I know from experience you can do that. Like pitching baseball. You can keep throwing hard past your limit until one day.... The engines cough and die quickly. Corky is startled out of his half sleep. Jake's hands fly at the instruments. CORKY (panicking) The mixture, Jake. A...advance the mixture. The engines rev back to life, although not even running as smoothly as they were. They surge in and out of sync. JAKE It's the plugs. They're fouling. CORKY Whatta you expect, you've been pushin' these engines to the limit for over thirty-five hours. JAKE They'll hold up. To belie his words, the engines cough deeply and Jake has to perform some rapid gymnastics on the controls. CORKY We got extra plugs. Find a place to put her down --- JAKE Corky. We're on the home stretch. I figure Manila in...thirty minutes. CORKY (a little hurt) You're the captain. I'm only the mechanic. What do I know? JAKE You're getting as cranky as Jack. ANGLE TO JACK in his spot between the chairs, looking miserable. He barks twice to agree and sneezes. BACK WIDE JAKE Bless you. CORKY Gesundheit. (muttering) Me and you, Jack. Extra baggage. A sick dog and a useless mechanic. JAKE (frayed) Corky...Do you really need a pep talk now? CORKY Wouldn't hurt. JAKE Forget it. Go back there and round up those plugs in case we do need 'em. Another momentary engine cutout punctuates the need. INTERIOR THE GOOSE'S CABIN - DAY The passenger section is loaded with spare junk of all kinds. Corky goes through it quickly. Jack jumps into a seat and lies down. As Corky pokes through the parts he feels Jack's nose. CORKY Let's see -- aileron control cables, carburetor jets, magneto, manifold heater...I think you're hot, Jack. Your nose is dry. Jack barks once to deny it. CORKY (continuing) You need to be in bed with a mustard plaster or something. Where'd I put that box? It must be here someplace. He digs through the spare parts. Corky gets to the bottom of the pile, but no plugs. CORKY (continuing) I musta left 'em on the dock! (worried) Look...ah, don't tell Jake and I'll keep mum about your fever...okay? Jack barks twice for "yes." INTERIOR THE GOOSE'S COCKPIT - DAY Corky takes his seat. The engines sound worse...really putting. JAKE Corky, maybe you're right. I'm gonna find a lagoon to set down in so you can change those plugs. CORKY We can make it without 'em. JAKE (puzzled) But, you just said --- CORKY (theatrical) There you go again. If you bring a mechanic along, you should listen to him. (beat) We're nearly there. He indicates out the window. EXTERIOR ISLAND CHAIN - DAY - THEIR POINT OF VIEW Broken clouds and below, islands, are far as the eye can see. CORKY'S VOICE Next stop...Manila. CUT TO EXTERIOR MANILA HARBOR - DAY - STOCK A 1935 shot of Manila, her harbor teeming with shipping. EXTERIOR ON THE GOOSE as she comes in over the water and lands. INTERIOR GOOSE COCKPIT As Corky, Jake and Jack look around taxiing in. JAKE You see any place to tie up? CORKY (points) Over there. Looks like we can fit in between those freighters. Jake nods and uses the engines to maneuver the Goose toward where Corky's pointing. EXTERIOR MANILA WHARF - DAY The Goose is taxiing toward a cargo laden wharf. Both workers and idlers crowd the dock space and the uneven sputter of the Goose's engines mingle with the clangor and many shouted tongues of this exotic port. Corky stands up in the bow hatch with a mooring rope. He hails a Filipino dockman watching the plane approach. CORKY Por favor, seņor. Agarrenos. (Excuse me, sir. Catch this.) CLOSER ANGLE The dockman snatches the thrown line out of the air and flips it around a cleat. Jake cuts the Goose's engines. DOCKMAN Tienen carga? (Do you have cargo?) CORKY No, estamas visitando. (No, only visiting.) DOCKMAN Por quanto tiempo? (How long?) Corky has climbed onto the bow and jumps to the wharf. Jake stands up in the hatch, lifting Jack onto the bow. CORKY (to Jake) He wants to know how long we're gonna be here. JAKE Two...three days. Ask him how much he'll charge us to tie up. CORKY Dos dias...tres. Quanto cobra para --- DOCKMAN (interrupting; Spanish accent) I speak English. Fifty pesos to tie the plane...fifty pesos to make sure the plane stays tied. The dockman grins, enjoying his venality. Jake nods, expecting this. He digs some bills out of a pocket. JAKE It's a deal...but I've only got francs. DOCKMAN Then it's one half...give or take. From where do you bring francs? CORKY The French Marivellas. DOCKMAN (whistles) A long journey. Corky is squinting into the cowling of one of the engines, shaking his head. CORKY Tell me about it. ON JAKE, JACK AND DOCKMAN Jake finishes counting out the francs and adds a bonus. JAKE A little extra for being friendly. The dockman takes the money with a gracious nod of his head, and reaches out a hand to pet Jack, who tries to growl at the man, but a sneeze ruins the effort. DOCKMAN Salud. But, as a guest in my country, you should be more 'amiable.' CORKY When Jack's got his allergy, he ain't 'amiable' to anybody. JAKE How far is it to the American Embassy? DOCKMAN (pointing) That way. About a thirty-minute walk...if nobody stops you. CORKY Why would anyone stop us? DOCKMAN There are many here like me who like Americanos...then there are the others. CORKY (gulps) Others? DOCKMAN The ones who want the Americans out. They'd as soon slit your throat as say hello. CORKY Ah...Jake. I think I'll stay with the Goose and work on the engines. JAKE Corky...I don't speak a word of Spanish. CORKY Jack speaks a little. (off Jake's look) Okay. But don't yell at me if when you wanna leave, the engines won't start. JAKE (to dockman) Thanks for the tip. The dockman folds the money and puts it in his pocket. DOCKMAN A little extra for being friendly. Jake smiles. We hold on the dockman as Corky, Jake and Jack move through the crowded dock and disappear. CUT TO EXTERIOR AMERICAN EMBASSY - DAY - ESTABLISHING A Spanish colonial-style building on a Manila street marked by an American flag, a Marine guard and a discreet brass plaque. We hear the voices of an American Attache, Simmons, taking us into the next scene. SIMMONS' VOICE Sorry I kept you waiting...I'm Horace Simmons, Deputy Attache. INTERIOR SIMMONS' OFFICE - DAY He is standing behind his desk shaking hands with Jake and Corky and showing them to seats. Then Simmons sits, opening a file on his desk. SIMMONS I had my secretary pull the file on your inquiry, Miss... (reads) ...White. How are you connected with her? JAKE Friends. When the magistrate on Boragora got your cable, we flew up. Simmons considers this, slightly startled for a brief beat. SIMMONS You must be good friends. CORKY The best. This outburst by Corky is unexpected, even by him. He finds his voice out of place in the draped and paneled office, so he settles back to be quiet. Simmons studies Corky's greasy overalls and conveys a silent concern for the fabric of his chair. SIMMONS (official) You have our sympathy, of course. Nothing very warm about an official death notice, i'm afraid. (beat) Actually, the case is still pending notification of Miss White's family in the U.S. We didn't expect anyone to...arrive just yet. JAKE She doesn't have any close family. Just aunts and uncles.... SIMMONS Well, yes, even so they would have to claim her effects, or body if that is their wish. JAKE You have her body?! Corky is twisting his hat. He hates this. Simmons refers to the records, flipping papers. SIMMONS Yes. She was interred. November eleven. JAKE (hollow) You sure? SIMMONS It's all here. Fairly routine, actually. We have to order the transients buried within two days. The refrigerated morgue space is limited, and, in the tropics --- JAKE (interrupts) May I see that? Simmons hands the file across the desk. SIMMONS I assure you, there's nothing irregular...visa, death certificate. The local forms are in Spanish.... Jake has been flipping papers. He holds one out to Corky. ON JAKE AND CORKY JAKE What's that say? Corky reads carefully. CORKY Philippines temporary visa...She stayed at the Royal Luzon Hotel and...she was singin' at the Black Parrot Club. JAKE (to Simmons) That was her cover. SIMMONS Cover? Jake leans in closer to Simmons. So does Corky. Simmons can't help but be pulled into it almost as if they're hatching a conspiracy. JAKE (whisper) You know what I mean. SIMMONS I'm afraid I don't. JAKE Sarah and I were...very close. She...told me things about her life that...well, she didn't tell other men. Simmons suddenly stands. SIMMONS Mr. Cutter! That's sick! JAKE Huh? SIMMONS This young lady is dead and you...you want to talk about her...liaisons! CORKY (confused) Jake, what are.... JAKE (to Corky) Not now. (to Simmons) You don't understand. SIMMONS Nor do I care to. ANOTHER ANGLE as he slowly stands. JAKE (firm) Sarah's alive. I know it. Can feel it. And I got a hunch you know it, too. SIMMONS Her death has obviously been a terrific blow to you.... JAKE I want to see her body! SIMMONS Of course. (beat) If her relatives have her disinterred for shipment home, I will arrange for you to view the body. JAKE Arrange it now. SIMMONS I'm afraid that's impossible. It can only be requested by the next of kin. JAKE Where is she buried? Simmons flips through the dossier and looks puzzled. SIMMONS Strange. The internment papers aren't here. (looks up) I can assure you, she was buried. I saw her body myself. Sometimes clerks misfile things. If you'll return in the morning, I'm sure I'll have found the cemetery by then. (stands) If there's nothing more, I have quite a few other citizens waiting. This isn't a particularly good time to be an American in Manila. Jake stares at him a beat and we.... CUT TO EXTERIOR AMERICAN EMBASSY - DAY Jake hurries out the door, brushing past the Marine guard. Corky and Jack hurry to keep up. JAKE Bureaucrats! CORKY All those papers, Jake. It has to mean somethin'. JAKE That paper's worth exactly what it costs to buy it...two cents. Jake jams a cigar in the center of his mouth. JAKE (continuing) We're gonna find out what smells so bad around here. CORKY (sniffing) Probably us, Jake. We've been flyin' for three days. Jack barks twice, agreeing, then sneezes. NEW ANGLE Jake leads Corky and Jack away from the Embassy along the street. A man standing in hard shadow, his back partially toward us, puts down a Spanish newspaper and prepares to follow them. He's dressed in white Filipino garb with a huge straw hat and sunglasses. CLOSE - MAN'S SUNGLASSES He watches the others walk away, his eyes hidden behind the dark glasses. CUT TO EXTERIOR BLACK PARROT CLUB - DAY A seedy looking bar in an even seedier looking neighborhood. INTERIOR BLACK PARROT CLUB - DAY Not unlike the Monkey Bar, but dark, smoky, filled with sinister types. The noise in the bar subsides for a bit as Corky and Jake enter and are sized up. There are quite a few hostile looks at these gringos. ON JAKE AND CORKY They move through the Filipino seamen, Orientals, Portuguese fishermen, gamblers, ramblers, unlucky souls and the flotsam and jetsam of the Pacific. Jake affects a casual smile. Corky is shaking in his boots as they reach the bar. A grizzled bartender comes up to them. JAKE Two beers. The bartender nods, grabs two greasy glasses, begins filling them from the tap. CORKY Ah, Jake. This place is making Jack nervous. Jake looks down at the floor. ANGLE ON FLOOR Jack is seated by a spittoon. He looks up at Corky, gives him an "are you kidding" look. BACK TO SCENE Jake gives Corky a look, turns back to the bar. The bartender bangs down the beers. BARTENDER Veinte pesos...twenty to you. Jake throws some francs on the bar. The bartender reaches for them, looks at one in the light, and is satisfied. JAKE What time's the singer come on? BARTENDER No singer here, Seņor. JAKE Wasn't there an American girl singing here for a few weeks? BARTENDER Not here. JAKE The American Embassy said she sang here...her name was White...Sarah Stickney White. BARTENDER If you're looking for a woman --- JAKE I'm not looking for any woman.... ANOTHER ANGLE Two bruisers close in on either side of Corky and Jake. The bartender recognizes them, and drifts away toward a curtained door. One of the bruisers nudges Jake. BRUISER #1 This bar is not for Yankee pigs. Bruiser #2 gives Corky a shove. BRUISER #2 I think you came to the wrong place, Seņors. The crowd is watching now. BRUISER #2 (to crowd) You want stinking Americanos here? The bar patrons actually couldn't care less. What they want, however, is a good fight to watch. So they begin egging on the two villains. "Si." "Americanos Afuera," "Yankees, go home," etc. JAKE We don't want any trouble. How about a beer, on me? BRUISER #1 Si. He takes Jake's beer, throws it in Jake's face. CORKY Oh oh. Now you did it. JAKE (holding back) That's okay, Corky. It's their bar...know what I mean. The other antagonist grins malevolently and picks up another beer. This time he arrogantly takes aim. Jake flicks his hand out and closes around the man's thick wrist. They strain against each other in a controlled contest of power until Jake finally triumphs and forces the man's arm down. ANGLE TO JACK He dodges too late and the mug full of beer splashes right on him. CORKY Oh oh...now you _have_ done it. Jack lunges for the leg of Jake's attacker, snarling and getting a good grip. The man howls and kicks Jack off. Knowing what's coming, Jake decides to get in the first punch. He sends the man reeling against the bar. ON THE MAN He comes right back at Jake, but he has produced a serrated machete from his belt and is already slashing. Jake dodges and the machete buries itself an inch into the wooden bar. The man struggles to free it, but Jake gives him a solid combination of punches that drops him onto a table. This isn't the end of the trouble. The men are known by the other bar patrons, who begin to manhandle Jake and Corky, pushing them toward the other bruiser who has produced his own machete. ON CORKY He manages to swing a chair into one of his attackers, and smashes a framed picture off the wall over the head of another. ON JAKE He is crouched, dodging killer slashes from the man with the machete. Each swing hacks through bottles on the bar, a hat rack, and even a table top Jake picks up to defend himself. But, finally, the other man gets the advantage. Jake slips on some spilled beer, and the bruiser puts the edge of the machete to Jake's neck, nicking him, and drawing a thin sliver of blood as a foretaste. But, Jack goes for the hand holding the machete, enough of a diversion for Jake to kick the man away. WIDE Now the fight breaks out for real. Jake and Corky stand back to back as it seems like everyone in the place tries for a piece of them. As the fight whirls around the bar is slowly disintegrated. ANGLE ON CURTAINED DOORWAY An Oriental giant who comes through the door with the bartender towards Jake and Corky. ANOTHER ANGLE The Oriental giant, Hito, literally throws men away from Jake and Corky. He picks up two men, knocks their heads together. Then he throws them in the direction of the front door. The fight is over that quick. No one dares to confront the giant. ON JAKE AND CORKY They take personal inventory of their wounds, then consider the giant, who stands there silently. JAKE I don't know who you are, mister. But I'd like to shake your hand. Thanks. They shake, and Jake winces at Hito's grip. HITO Follow me. He moves toward the curtained doorway. Corky gives Jake a scared look. CORKY Jake? They follow Hito through the curtained doorway. INTERIOR INNER ROOM - HOTHOUSE - DAY In contrast to the grimy bar, this room is sunlit and humid, filled with a profusion of lush green plants, vines, fronds, ferns. Brilliant butterflies and jeweled tropical insects flit through the greens. The room is luxuriously furnished with exotic bamboo furniture. There are cages of colored birds and the sound of a bubbling brook coming from somewhere. One look at all this blossoming beauty and a siege of sneezing overtakes Jack. Hito steps to the side. ANGLE THROUGH PLANTS TO JAKE Struck with the curious nature of the hothouse collection, Jake's eyes go from one plant to another. JAKE Rengas trees...physic nut...This one's called Blind Your Eyes, I think...these plants are all poisonous. EXTREME CLOSEUP - CATERPILLAR A long-haired, bizarrely marked caterpillar inches along a leaf that suddenly snaps shut on it. Camera racks focus to include Corky, disgusted. He turns to Jake. CORKY Some of 'em just eat you! Jack sneezes. PRINCESS KOJI'S VOICE Okage sama de, Jack. Jake spins to see Princess Koji, outlined and backlit as she comes through an archway covered by a beaded portiere. The light from the hothouse dances off her brocaded silks. Todo emerges behind her. FADE OUT _END OF ACT TWO_ _ACT THREE_ FADE IN INTERIOR KOJI'S HOTHOUSE GARDEN - DAY - TODO Using a little pair of scissors and Zen-like patience, Todo is selecting small trimmings from the poisonous plants, placing them in a tall glass container. We follow his collecting from plant to plant, including even a virulent toadstool or two, during the following conversation. ON GROUP Princess Koji is seated in a rattan peacock chair, Jake and Corky standing in front of her, as if at court. Jack is watching from the floor. JAKE You pop up in the damndest places...Princess. PRINCESS KOJI Perhaps you and I are fated to walk the same path. JAKE Or at least wind up in the same dives. Thanks for saving my hide. PRINCESS KOJI It's such a nice hide. I wouldn't want anyone...else to hurt it. She laughs and Todo joins in. He plucks a black bloom for his concoction, then maliciously shakes heavy pollen which floats down on Jack. Jack instantly sneezes and then growls at Todo. Todo puts a hand to his sword. CORKY (aside to Jake) Jack's gonna sneeze himself into big trouble. JAKE (sotto) Jack...the man has a three-foot sword. This doesn't sway Jack, who continues to growl. PRINCESS KOJI This atmosphere seems too heady for your animal. Perhaps your mechanic should take him into the bar. (to Corky) The drinks, as you Americans say, shall be on me. CORKY (wide eyed) But, those guys out there.... PRINCESS KOJI Hito...see that no harm comes to this one... (off Jack's growling) ...or the dog. Hito nods. Corky looks to Jake. JAKE It's okay. I'll be along in a minute. CORKY C'mon, Jack. Let's get a beer. Somethin' tells me we're in the way. Jack barks twice and jumps down to follow Corky out, but not without a final look of defiance to Todo. ON KOJI AND JAKE She pats the chair next to her. Jake sits, and as he does, Koji crosses her legs to take full advantage of the thigh-high slit in her skirt. PRINCESS KOJI Isn't this a delightful coincidence. Both of us in Manila... together...on more or less neutral ground. I hope your business here will afford you some time for...diversion. JAKE I doubt it. (serious) I came looking for Sarah White. PRINCESS KOJI (irritated) The undernourished American coed who sings, if one could call it that, at the Monkey Bar. JAKE (smiles) That's the one. PRINCESS KOJI You find her interesting? JAKE At the moment I'd just like to find her. (serious) She's supposed to have died a week ago, here in Manila. Todo shoots a quick glance to Princess Koji who thinks for a moment. Jake doesn't miss the eye contact. JAKE Come on, Princess. I know she was singing here...although I can't imagine why in the world Sarah would be working in one of your clubs. After a beat.... PRINCESS KOJI (smiles) She never knew the Black Parrot was mine. JAKE (excited) Then she was singing here! PRINCESS KOJI I found it amusing to secretly watch her...and her boyfriend. JAKE (stunned) Boyfriend! PRINCESS KOJI A rather tall man with a sallow complexion and a moustache. Not at all handsome...like you. JAKE Do you know his name? ANOTHER ANGLE The Princess looks to Todo as he brings the collection of clippings to a 1938 version of a blender and grinds it into a vile looking concoction. He pours the thick green liquid into a jade goblet and hands it to the Princess. As he does all this.... TODO Wallace. PRINCESS KOJI Ah, so...Wallace. JAKE (still in shock) What makes you think he was Sarah's boyfriend? PRINCESS KOJI Oh, come, Jake. Such things are really quite obvious. TODO He drooled every night at her table. And they always left together. PRINCESS KOJI They even disappeared together. JAKE When? TODO One week ago...today. JAKE (to himself) The day Sarah supposedly died. Todo hands the goblet to Princess Koji who in turn offers it to Jake. He stares at it. JAKE I...ah, never drink before sundown. PRINCESS KOJI You will find this most stimulating. JAKE Deadly is more like it. (nodding to Todo) Everything he put in it was poisonous. PRINCESS KOJI In the right mixture, the most lethal poisons can be a lifesaving elixir, a tonic...even an aphrodisiac. She holds the goblet out to Jake who just stares at her. PRINCESS KOJI You do want to know more of Sarah's Wallace, don't you? JAKE You know more? PRINCESS KOJI (laughs) No. But I would invent something wonderful. Jake can't help but smile and shake his head. He starts to back toward the door. JAKE I'll take a rain check, Princess. PRINCESS KOJI (coyly) Promise? JAKE (swallows hard) Promise. And then he's gone. CLOSE ON PRINCESS KOJI Todo is obviously upset with her behavior. TODO I don't understand why you let that one humiliate you. PRINCESS KOJI (thoughtfully) Neither do I, really. I can't tolerate rejection, yet from Jake Cutter it only whets my appetite. She smiles and drinks the liquid down in one draft. CUT TO EXTERIOR BLACK PARROT - DAY Jake, Corky and Jack exit into the narrow street teeming with vendors, natives and shoppers. Some of the people stare at our trio with hostile looks, but most seem friendly. CORKY What now, Jake? JAKE We look up that hotel Sarah was staying at...what was the name? CORKY Ah.... Jake gives him a look like "Don't forget now." CORKY (snaps his fingers) The Royal Luzon. Thought I'd forgot, didn't you? JAKE Wouldn't have surprised me. (smiles) I did. Corky fairly beams at having remembered something Jake didn't. MOVING WITH THEM as they start down the narrow street. CORKY Jake. Do you think while we're there we could check in so Jack and I can get a full dozen? JAKE Full dozen? CORKY A hot shower, cold beer and ten hours' sleep. Jack barks once. CORKY Jack'll skip the shower. Jake smiles and the three of them start down the narrow, crowded street. CLOSE ON SUNGLASSES The man we saw at the Embassy is watching our trio from the cover of a doorway. MOVING WITH JAKE, CORKY AND JACK They stroll down the narrow, crowded lane. A young street punk huddled with three or four of his friends spots them and nudges his buddies. Like street punks in any city at any time, they are looking for excitement and fall in behind our heroes. CLOSE ON JACK Trotting along the cobblestones, he senses trouble, looks over his shoulder and growls. MOVING WITH JAKE AND CORKY Jake glances down at Jack. JAKE Easy, Jack. We don't want any trouble. Corky looks back and sees the four young punks tailing them. He nudges Jake. CORKY I think we got it anyway. Jake looks and sees the foursome closing in. JAKE Let's get outta here. Jack barks twice. Corky starts to run before he's turned around and stumbles into a fruit stand, going down in a tangle of bananas and passion fruit. VENDOR (in Spanish) My fruit! You've ruined my fruit! ON THE YOUNG PUNKS Seizing the opportunity, the leader shouts out.... PUNK (yells; in Spanish) See how the Yankees treat an old man! ANOTHER ANGLE - FEATURE JAKE as he helps Corky to his feet. The crowd is getting ugly. JAKE (smiling) It was an accident. An... (aside to Corky) How do you say accident? CORKY (in Spanish) Accident. JAKE (still smiling; in Spanish) An accident, sorry. Sorry. PUNK (yells in Spanish) He laughs at us. Are we Filipinos going to allow a Yankee to laugh at us? The crows roars a "no!" and closes in on Jake, Corky and Jack. Jake pulls a wad of bills and stuffs some of it in the vendor's hand. The crowd slows. JAKE (in Spanish) Sorry. Accident. PUNK (rages; in Spanish) Are you going to let the Yankees buy us for a few dollars? The crowd hesitates. PUNK (in Spanish) Well, this Filipino won't! He breaks into a run, along with his pals, after Jake and Corky. Mob hysteria quickly wins out over reason and everyone starts running. MOVING WITH JAKE He leads Corky and Jack on a race down the narrow street. MOVING WITH THE MOB led by the young punks as they run screaming after them. ANGLE ON ALLEY Our trio comes running around the corner and up the alley. We can hear the crowd close on their heels. Suddenly an arm comes out of an open doorway and jerks Jake and Corky inside. KIMBLE'S VOICE Jack. Keep 'em going! ON JACK He glances up, then takes off down the alley. ON THE MOB as they race around the corner in time to see Jack disappear around the next bend. They run down the alley after him. ANGLE ACROSS JAKE, CORKY AND KIMBLE as the mob races past a few feet away. When the last one is gone, Jake turns to Kimble, who takes off his sunglasses and grins. KIMBLE Welcome to Manila, Jake. Corky. JAKE Johnny Kimble! KIMBLE In the flesh. JAKE What are you doing here? KIMBLE (putting glasses back on) I'm not here...if you know what I mean. CORKY (puzzled) Uh-uh. JAKE Johnny's with the State Department, remember. Sort of a specialist. CORKY Oh, you mean his being a spy. (off their look) Even I remember that. KIMBLE (laughs) The other side has spies, Corky. We have intelligence agents. JAKE You still didn't answer my question, what are you doing here? KIMBLE (peeks out doorway) Looking for Sarah White. JAKE Did you find her? KIMBLE (somberly) Yeah... (sees Jack) Hiya, Jack. Lose 'em? ON JACK as he comes trotting up the alley. He barks twice and sneezes. ANGLE ON ALL as Kimble leads the others into the alley. KIMBLE (to Jack) Bless you. Jack sneezes again. CORKY He's got an allergy. Jack barks once, emphatically. CORKY Only he won't admit it. FEATURE JAKE He turns Kimble toward him. JAKE Johnny! You said you found Sarah. (beat) Where? Kimble stares at him for a long beat, then we.... CUT TO EXTERIOR PAUPERS' CEMETERY - NIGHT - CLOSE ON TOMBSTONE It reads -- "Sarah Stickney White 1910-1938". We hear the sound of shoveling and as dirt flies through frame we widen to reveal Corky and Jack sitting beside the tombstone on guard as Kimble and Jake empty out the fresh grave. CORKY (nervous) H...how much longer? (beat) Jack wants to know. Jack just looks at Corky, who shrugs sheepishly. JAKE Just keep watching. It won't be long. He goes back to digging with Kimble. KIMBLE (digging) The Japanese have a lot of agents in Manila whipping up anti- American sentiment. They'd like nothing better than to waltz in here and be welcomed as liberators. CORKY From what I've seen, that wouldn't be too hard. JAKE Don't let a few malcontents in Manila fool you, Corky. CORKY Huh? KIMBLE Jake's right. The real strength of the Philippines is in the country-side. That's why MacArthur's trying to make peace with the Moro guerrillas who used to fight us. JAKE General MacArthur? KIMBLE He's chief military advisor here. Uncle Sam's still responsible for the defense of the Philippines even though the country's run by President Quezon and the Philippine Parliament. JAKE What's Sarah got to do with all this? KIMBLE We've got an internal leak. Someone who knows every move Uncle Sam makes politically and militarily. I needed an agent to plug it who wasn't known in Manila...Sarah was the closest one. So, she flew.... Jake's shovel touches wood. Corky gulps. Even Jack peers down into the grave with a look of one-eyed apprehension. ANOTHER ANGLE - CLOSE ON COFFIN as Jake and Kimble sweep the dirt off the top. When they've cleared enough to open the lid.... KIMBLE Want me to open it? Jake shakes his head, but there is little confidence in his face. Kimble climbs out of the grave to give him room. Jake shifts onto the rear half of the coffin. He digs his fingers down in the side to loosen the wing nuts holding the hinged top half of the coffin shut. When they are loose, he looks up to Corky. JAKE'S POINT OF VIEW - CORKY AND JACK Corky has covered Jack's eye and both of his own. ON KIMBLE He shines his flashlight directly onto the coffin. BACK CLOSE ON JAKE After a beat, he slowly opens the lid. CLOSE ON THE COFFIN LID as it swings up. FADE OUT _END OF ACT THREE_ _ACT FOUR_ FADE IN EXTERIOR CEMETERY - NIGHT - ESTABLISHING We can see the open grave in the moonlight with Kimble and Corky peering down into it. CLOSE ON JAKE as he lifts the lid to the upper half of the coffin. His expression changes from expected horror, to shock, to relief. ON THE OPEN COFFIN We see the head and upper torso of a tall, mustached man. ANGLE ON ALL - FEATURE JAKE He looks up to Corky who still has his eyes covered. JAKE It's okay, Corky. You can look now. Corky peeks between his fingers, sees it isn't Sarah and drops his hand in relief. CORKY Jake! It ain't Sarah. Hey, Jack, look! It ain't Sarah. It's just a dead man... (laughs; then sobers) ...a...dead man with blood on his shirt! Jack barks twice and Jake looks closer. ON THE BODY The man hasn't been embalmed or cosmetically prepped. There is a hole in his shirt over the heart and dried blood around it. KIMBLE'S VOICE His name's Wallace. ANGLE ON ALL - FEATURE JAKE as he looks up sharply. CORKY Say, Jake...ain't that the guy Princess Koji said was Sarah's boyfriend? Jack barks twice. KIMBLE Sarah let him hang around so she could keep tabs on him. We thought he might be our leak. (beat) He was assigned here by State to handle security for the meetings between MacArthur and the Moros. (beat) He fumbled the football last week. JAKE What happened? KIMBLE MacArthur was meeting with the leader of the Moros when the site got hit by an artillery barrage. CORKY But the only artillery in the Philippines is.... KIMBLE Ours. The Army was test firing our big guns on Bataan. Someone slipped in the jungle coordinates of the secret meeting as part of the overcue. (looks down) One thing for sure...Wallace wasn't the leak. JAKE Why put him in Sarah's grave? KIMBLE He must have found the leak and the leak killed him. Had to hide the body. JAKE Okay. But why did someone go to all the trouble of digging a grave for Sarah in the first place if... (remembers) He said he saw Sarah's body! Jack, who is already ahead of Jake, barks twice. Kimble and Corky look from Jack to Jake. KIMBLE Who? SMASH CUT TO EXTERIOR NARROW MANILA STREET - DAY - HORACE SIMMONS as he moves through the teeming street past the vendors and shoppers. He is wearing a morning smile and a clean white suit. He continues past us and we reveal.... CORKY AND KIMBLE behind a stack of baskets. Corky is haggling with the vendor in Spanish. Kimble is reading the local Spanish paper. They look up, once Simmons is past, to.... JAKE AND JACK behind a fruit stand across the street and near the corner. Jake is eating a banana and watching Simmons as he strolls down the street. ON SIMMONS He stops, glances around, then enters a garage. BACK ON JAKE AND JACK Jake, still watching, offers Jack a piece of the banana. Jack sneezes. JAKE Bless you. Jake then looks at the banana and back to Jack. Jack knows the question and barks once. JAKE Well, you gotta be allergic to something. Jack barks once. ANOTHER ANGLE Corky and Kimble cross the street and join Jake at the fruit stand. Corky is carrying a huge basket he bought. JAKE (pointing) He went into that garage. CORKY Probably keeps his car there. KIMBLE (shakes his head) He has a chauffeured car, besides the Embassy is only three blocks away. JAKE Maybe he's not going to the Embassy. EXTERIOR GARAGE - DAY The wooden doors slide open and an olive drab Army staff car with General's stars flying from the fender flags pulls into the street, followed by an Army six-by with the canvas covers pulled down. ON THE STAFF CAR as it passes our group. Simmons is in the back seat, talking with an Army General smoking a corn cob pipe. It appears to be MacArthur. We push into our guys as the six-by wipes frame. JAKE Where's he going with MacArthur? KIMBLE (shocked) That wasn't MacArthur! CORKY Huh? Kimble takes off through the crowd. KIMBLE Keep an eye on that garage. I gotta get to a phone! JAKE What the hell's going on? KIMBLE (yells back) MacArthur's meeting the Moros again at one o'clock. CLOSE ON JAKE AND CORKY Corky is puzzled, but Jake's got it figured. CORKY Jake. I don't get it. JAKE Simmons is going to show up at that meeting with the fake MacArthur before the real one arrives. CORKY What good'll that do? Kimble said the Moros met General MacArthur before. They'll know the guy with Simmons is a fake. JAKE (lighting a cheroot) By then it'll be too late. Whatta you wanna bet that troop truck is filled with soldiers as phony as the guy with the corn cob pipe. CUT TO EXTERIOR COUNTRY ROAD - DAY - MOVING WITH THE CONVOY The staff car with Simmons slides by frame followed by the six-by. We hold on the rear as the flap is thrown open to let in air. A half dozen Filipinos in Army uniforms are sitting behind a water-cooled 50mm machine gun. JAKE'S VOICE (continuing) They'll slaughter most of the Moros. Those that escape will spread word that General MacArthur and the Americans betrayed them. WIPE TO EXTERIOR MANILA HARBOR - DAY - ON THE GOOSE as she plows through the water and struggles into the air on two sick engines. INTERIOR COCKPIT Jake flying. Corky in the copilot's seat and Kimble between them. JAKE'S VOICE OVER By the time Johnny got through to MacArthur's headquarters, the General had already left for the rendezvous. Johnny tried his best to talk MacArthur's aide into sending pursuit planes after the first convoy, but trying to convince an Army colonel to blow up an American convoy over the phone was like trying to convince Scarlett O'Hara to burn Tara. ON THE GOOSE as it flies through the mountains of the Philippines. JAKE'S VOICE OVER The most he would do was dispatch a motorcycle messenger after the General with Johnny's story. (beat) That left it up to us. INTERIOR COCKPIT The Goose's engines begin backfiring and shuddering. Corky reaches for the mixture, making tiny adjustments that smooth the engines out a little. JAKE I should have let you change those plugs when you wanted to, Corky. CORKY (guilty) Ah...Jake. There's something I gotta tell ya. Jack barks once. CORKY Don't worry. I won't tell him about your fever. Jack rolls his eyes and heads for the rear of the Goose. Jake looks to Corky but before he says anything, Kimble interrupts with a shout. KIMBLE (pointing) There! EXTERIOR JUNGLE ROAD - DAY The real MacArthur is in front of his staff car which is blocked by a jumble of felled trees. A motorcycle with a sidecar has just pulled up. The driver salutes and hands MacArthur a message. As he reads it, soldiers from the truck are hauling trees away, but it's obvious the convoy is going to be held up for hours. MacArthur looks up as the Goose roars over and on down the road. INTERIOR GOOSE COCKPIT Corky is looking back over his shoulder as the roadblocked convoy. CORKY Which MacArthur was that? KIMBLE The real one. Simmons had the road blocked after he passed so the real General can't show up on time. JAKE Which is?... Kimble looks at his watch. KIMBLE Twenty minutes. Jake reaches up and adds a touch more throttle. The engines rebel and backfire but pick up slightly. ON THE GOOSE as it roars past the jungle treetops. CUT TO EXTERIOR MORO CAMP - DAY A temporary encampment cleared in the jungle with a few thatch lean-tos and a couple of cooking fires. There are a dozen Moro guerrillas in the camp, wearing red headbands and armed with rifles and machetes. Sitting with two of them is Enrique Vasquez. He looks up at the sun, estimating the time. CUT TO EXTERIOR JUNGLE ROAD - MOVING WITH THE FIRST CONVOY as it bumps along over the dirt road and past camera. We catch a glimpse of Simmons and the fake MacArthur. As the six-by goes past, the soldiers drop the tarp. CUT TO EXTERIOR ON THE GOOSE - DAY It screams through a pass over the winding dirt road. INTERIOR COCKPIT Jake spots the convoy first. JAKE (pointing) There they are! EXTERIOR THEIR POINT OF VIEW - THE CONVOY a mile ahead on the winding road leaving a trail of dust. BACK ON THE COCKPIT Corky is fighting mad. CORKY Let's go get 'em! JAKE (looks incredulously at Corky) With what? KIMBLE The meeting site's near the coast, at the end of this road. Our only chance is to get there before that convoy does. JAKE (estimating) I'd say it's five miles to the coast as the Goose flies...probably seven for that convoy. We've got about fifteen minutes on 'em. (banking the Goose) No sense in letting Simmons know we're around. ON THE GOOSE as it banks and swings away from the road, flying low over the jungle toward the coast. CUT TO EXTERIOR MORO ENCAMPMENT - CLOSE ON VASQUEZ He hears something. The others look around, they hear it too. It's the sound of the Goose's engines as it comes in for a landing. They look puzzled for a beat, then.... VASQUEZ (to aide; in Spanish) An airplane. Off shore. Take some men and see. The aide nods and yells to a couple of the armed Moros who take off through the bush after him. CUT TO INTERIOR MILITARY SEDAN - DAY - ON SIMMONS He takes a pistol out of his shoulder holster, checks it and puts it back. CUT TO EXTERIOR ISLAND COAST - DAY - ON THE GOOSE as it taxies into shore. Corky is in the open hatch with Jack. The second they touch the beach, he leaps off. Corky scrambles after him, tying off the Goose to a palm tree. By the time that's done, Kimble and Jake have climbed out. JAKE (looking around) I thought I saw a clearing off the road about a half mile that way. (turns) Corky.... CORKY I know. Jack and I gotta guard the Goose. KIMBLE (looking at something) I don't think so. ON MOROS as they come out of the bush, rifles and machetes at the ready. MORO AIDE (in Spanish) Who are you? ANOTHER ANGLE - FEATURE OUR HEROES Jake turns to Corky who moves forward. CORKY (to Jake) Guess Jack and I ain't stayin' with the Goose after all. (to aide; in Spanish) We are friends. We come with a message for Vasquez. As the Moros close in, we.... CUT TO EXTERIOR MORO JUNGLE ENCAMPMENT - DAY Jake and the others, disarmed, are led in to Vasquez. He looks them over as the aide whispers in his ear. After studying them a beat, he steps forward to Corky. VASQUEZ (surprised) You are the leader? CORKY No. I'm just the only one who speaks the language. Jack barks once. CORKY He speaks...poquito. Jake and Kimble both step forward to speak at once but before they can.... SARAH'S VOICE (excited) I thought I recognized that voice! ON SARAH standing in front of a lean-to, wearing a red headband and armed with a machete. She is quite alive and quite beautiful. As everyone runs to her.... JAKE Sarah! CORKY You're alive! Jack sneezes at her feet. SARAH Bless you. Jake sweeps Sarah into his arms in a big bear hug that surprises the hell out of her. SARAH Maybe you ought to think I'm dead more often. KIMBLE What the hell happened to you? SARAH (puzzled) Didn't Simmons tell you? KIMBLE Simmons is the leak, not Wallace. SARAH No! I convinced Enrique to meet with MacArthur again and Simmons was the go between! CORKY He's coming here now. JAKE With a fake MacArthur and a truck load of soldiers. He's probably going to blow this whole camp away! One of the Moros yells something in Spanish to indicate the convoy is arriving. In the background we hear the whine of the sedan and truck coming up the hill on the dirt road. KIMBLE (to Vasquez) That convoy's a fake! You gotta believe us! Vasquez looks to Sarah. SARAH If they say so, it is so, Enrique. At that moment the sedan pulls into the clearing with the truck close behind it. INTERIOR SEDAN - ON SIMMONS He sees Jake, Sarah and the others scattering. SIMMONS (yells to driver) They know! Get out of here! The driver hits the gas and skids the car through the clearing, narrowly missing a number of Moros as they open fire with their weapons. WIDE ON THE CLEARING The car spins in a circle, but cannot escape since the truck coming up the narrow dirt road blocks it. A fire fight develops immediately between the Moros and the fake soldiers in the truck. During this.... CORKY takes Sarah to the ground to protect her. KIMBLE grabs a machete and leads an assault on the truck with the machine gun. Since the rear of the truck is facing down the road, the machine gun cannot be brought around quickly enough to overcome the attack. A few Moros go down, but Vasquez, Kimble and the rest soon swarm over the truck, machetes flashing in the tropical sun as they kill the soldiers. JACK ducks into a lean-to to get out of the way. And.... JAKE grabs a machete from a dead Moro and runs toward the staff car. INTERIOR STAFF CAR - DAY Simmons throws the door open as the fight swirls all about him. The fake MacArthur is petrified. He grabs at Simmons, clutching the tail of his white jacket. FAKE MAC What's happening? You said this was a joke. A joke! Simmons sticks the pistol in the General's gut and pulls the trigger. As the man slumps back, an expression of shock on his face, Simmons leaps out. ON SIMMONS as he races for the jungle, dropping a Moro who charges him. ON JAKE Simmons spots him coming and opens up, Jake dives behind the staff car for cover. ON SIMMONS He empties his revolver at Jake then frantically fumbles in his pocket for bullets to reload it. ON JAKE He takes off at a sprint, racing across the clearing towards Simmons. Behind him the fight is raging at the truck. CLOSE ON SIMMONS He drops a round into the chamber, another, then looks up and sees that Jake is almost on top of him. He flicks the cylinder shut and brings the pistol up just as Jake slams into him with a cross body block that sends them both flying. The gun is knocked loose. Simmons picks up a machete lying on the ground beside the Moro he killed and stands to face Jake. CLOSE ON THE TWO MEN as they warily circle each other. In the background, the battle is climaxing. ON CORKY AND SARAH Corky finally lets her raise her head a little. She spits dirt out of her mouth and see Jake and Simmons. SARAH Jake! ON JAKE AND SIMMONS They slash and counter-slash with the deadly machetes. It's the classic duel. Neither man says a word as they fight for their lives. Then, just when it looks as if Simmons has the upper hand, Jake feigns one way and slashes the other, slicing Simmons open like a ripe watermelon. Which, due to it being on television, will be handled with the utmost of discretion which means we won't see it at all, only.... SIMMONS' FACE as his eyes widen with the realization that his guts are spilling out onto the jungle floor. He falls forward. ON JAKE standing, panting over Simmons' body as Sarah and Corky run up to him. He quickly turns Sarah's head from the sight. ANOTHER ANGLE The fight at the truck is over. Kimble and Vasquez walk up to Jake and look down at Simmons' body. VASQUEZ You have saved our lives, my friend. We owe you a great debt. JAKE Not me. (nods) Him. They turn to see.... ARMY MOTORCYCLE screeching into the compound. Climbing out of the sidecar and dusting off his clothes as he looks around is Gregory Peck. Sorry, it's really Douglas MacArthur. CLOSE ON MAC ARTHUR He puts the famous corn cob pipe in his mouth and strides forward. CLOSE ON JAKE AND THE OTHERS They beam proudly and we.... FADE OUT _END OF ACT FOUR_ _TAG_ FADE IN EXTERIOR MORO ENCAMPMENT - DAY A meeting is going on in the center of the camp between General MacArthur, Vasquez, Kimble and two other Moro chiefs. ANGLE ON JAKE, SARAH AND CORKY They are standing off to one side, watching. SARAH You may have just saved the Philippines, Jake. JAKE I got a feeling the only man who can do that is the one smoking the corn cob. With that, Jake pulls out a cheroot and lights up. Then.... JAKE (looks around) Have you seen Jack? CORKY Yeah. He ducked into that lean-to when all the shooting started. JAKE (shakes his head) Figures. ANOTHER ANGLE as the three of them walk up to the lean-to and look in. JAKE Come on out, chicken. I'll forgive.... Jake stops and stares. THEIR POINT OF VIEW - JACK AND FEMALE DOG The female is a cute little mix with short hair. They are lying side by side in a corner. (What do you expect on tv?) CLOSE ON OUR TRIO as they look a bit embarrassed. JAKE Don't tell me? You were protecting her? Jack barks twice. Jake shakes his head. SARAH I've never seen Jack with a girl before. CORKY Last time was about a year ago.... JAKE (realizing) ...in China. SARAH A whole year? CORKY He's not a young man, you know. JAKE Corky...wasn't that the last time he had his allergy? CORKY (thinks a beat) Uh-huh. (catches on) Jake! You don't mean all he needed was to.... (whistles) CLOSE ON JACK He barks twice. BACK ON ALL As they break up, Jake sneezes and on Sarah's look we.... FREEZE FRAME _THE END_
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