_ACT ONE_ FADE IN EARLY MORNING - CLOSEUP - BRASS DOORS The fiercely sculpted faces of lions in a frozen roar, scream out at us from the glare of the sunlight. A beat, then the doors swing open, and through a very official entourage of Japanese military high officials we see the Emperor of Japan walking with another Japanese gentleman, similar in appearance, a year younger. He is referred to as Yashuhito, a provincial governor. As they walk down the marble steps, camera pulls back to: EXTERIOR PALACE GARDENS surrounded by guards. In the distance we can see the heavy gates opening as the group comes down the stairs, and into a waiting limo. The grounds are deserted except for this small gathering, and the guards. Yashuhito's aide comes over the Emperor's aide as they reach the limo. They speak in Japanese. (Note: We will use subtitles for this segment.) AIDE The Governor of Hokkaido would like to express to you his highest gratitude for the Emperor's most gracious hospitality. The Emperor turns to the Governor and bows to acknowledge the compliment. The Governor bows back. We suddenly hear the muffled sound of a gun, then the Emperor looks up -- stunned and shocked, and slumps to the ground. Instantly everyone reaches for the fallen Emperor. Pandemonium -- during which, the "Governor" runs from the scene and out the far gates. EXTERIOR GATES as we see other guards streaming into the gates just as the Governor runs by them. On the street a small group of Japanese stop and watch -- trying to see what is going on. Camera pulls in on the only American in the group: Lucas -- mid-forties, adventuresome type, obviously well off, not too educated. As everyone else watches the guards, Lucas sees the "brother" running down the street, quickly and professionally disrobing his Japanese garb and wig. (Note: We never do see his face out of the disguise, since he is running away from us.) LUCAS as he watches the man -- confused. Camera pans away from him and to: EXTERIOR PALACE GATES - AFTERNOON as the camera pans back to the gates, now calm and guarded by a row of guards, we bleed out of color and into black and white. Over this: ANNOUNCER'S VOICE (a la Harry Von Zell) And half-way around the world in Tokyo, the harsh hand of fate may have turned pageantry into tragedy as rumors still abound of the possible assassination attempt on the Emperor, almost putting a final twilight on the land of the rising sun. Our own Whitney Bunting, on the scene for a scheduled interview that was never to be, was able to photograph one of the palace spokesmen. ANGLE - GATES as we see as very uneasy Japanese man looking right at the camera. Whitney Bunting, a high-energy reporter, stands just behind him holding up a ball mike. Over this: ANNOUNCER We asked the spokesperson if it was true that the assailant might have been posing as his friend, the Governor of Hokkaido. SPOKESMAN No comment. ANNOUNCER And then if the Emperor was indeed still alive. SPOKESMAN No comment. ANNOUNCER And that's the news from Tokyo.... CUT TO UNIVERSAL NEWSTIME LOGO as it spins over the appropriate music. Suddenly it freeze frames, the music stops and we watch as the logo melts and burns to a white screen. We hear groans over this: LOUIE'S VOICE Lights! Lights come on and we are in: INTERIOR MONKEY BAR - NIGHT Gushie fumbles with an old 16mm projector. Louie watches. A portable screen stands a few feet away and the tables have been arranged to watch it. Corky is busing eating popcorn out of a large bowl as Gushie gives up on the projector. LOUIE That is it, ladies and gentlemen, the projector is out of order again. CORKY You mean no _Hotel Haywire_? LOUIE (genuinely disappointed) I'm afraid not. (then) There might be some spare parts in the storeroom. JAKE (to Louie; suspicious) Louie, when are you so upset about missing _Hotel Haywire_...unless.... Jake grabs for the can with the feature movie, before Louie can take it away. JAKE (reading can) _The Rage of Paris_?! Louie, you were going to pawn _The Rage of Paris_ off on us _again_! LOUIE How can you be so callous? (thinking of film) Danielle Darrieux -- such a sweet souffle. Such passion, such amour.... CORKY Just a lotta hand holding. LOUIE Haa, my friend, you have so much to learn about passion. CORKY (defensive) I know all about that stuff. LOUIE You may know how to feed the parrot, but can you make it sing? The parrot squawks. Sarah, who has been staring at the screen quietly through all this, looks over to Jake. SARAH She's something, isn't she? JAKE I don't know. Her accent's too thick for my taste. SARAH I'm talking about Whitney Bunting. On the newsreel. You know, back in school when we were working on the paper, she broke into the Dean's office to get some inside dope for an expose on him. Really stirred things up. JAKE She get thrown out? SARAH No. The Dean did. (then) Imagine being right there when someone tried to kill the Emperor! LUCAS' VOICE It wasn't so exciting. Everyone turns around, to the back of the bar. There, feet up on a table, sits Lucas, the same man who we saw earlier in Tokyo. LUCAS I was right there. Just a lot of Japs running around. Hell, the guy who did it almost knocked me down. Everyone turns around and groans. LOUIE If I may suggest. Stick to your fishing stories. They're easier not to prove. Gushie has finally got the newsreel film untangled from the projector. GUSHIE (holding up reel) What should we do with this? LOUIE You might as well throw it out. It is, as they say, old news. Louie takes the reel and throws it over to the wastebasket. CLOSEUP - BASKET as the film falls in with a loud thunk. CUT TO EXTERIOR HANOVER SHIP - NIGHT - ESTABLISHING SHOT - STOCK We hears the sounds of Morse code. SARAH ...Assailant in assassination attempt of Emperor may arrive on Boragora. Extremely dangerous, and difficult to spot, having successfully impersonated the Japanese Emperor's friend. Could be using number of disguises. Sarah takes off her headset and turns off the radio. A knock at the door startles her. SARAH Who is it? She waits for an answer but none is forthcoming. She throws the bedspread over the radio and then cracks the door open. Suddenly, a hideous face lunges in front of her. She screams. A hand pulls off the mask, revealing the wearer to be Jake. He slips in and puts a hand on Sarah's shoulder to steady her. JAKE Are you all right? SARAH (angry) I never thought that kind of thing was funny. JAKE Sorry, but since the projector was down, I was afraid Louie might want to start a game of French charades. I thought if I stole the mask it would discourage him. He turns the mask towards him and looks at it. Then: JAKE It's not _that_ scary, if you look at it. Hey, I only came up because Corky said you wanted to see me. SARAH That's right. I'm sorry. I forgot. She searches through a pile of papers on her bed and pulls out a telegram. SARAH You know, when Whitney wired me, she asked me to find her the best pilot on the island. You know any? JAKE Not personally. (then) What are all these other things? Sarah looks down at the pile of papers. SARAH Christmas cards. From Whitney. Every year we'd send each other a card wherever we were. JAKE That's a lot of Christmas cards. SARAH We've had a lot of Christmases apart. JAKE You saved them all? SARAH Why not? She mailed them from around the world. Stamps alone are probably worth a fortune. JAKE You think she saved your cards? SARAH (with an edge) I don't know...my stamps probably aren't as valuable. JAKE Aww, come on, Sarah. It's not Whitney's fault she's in the movies. SARAH (too fast) Who said anything about the movies?!... (beat) Okay...it's just she's so damn good at everything. Always has been...I don't care. She nods. He turns to leave. SARAH Jake? He turns back to her. SARAH Got any masks for people meeting old friends? Jake just smiles back at her as we: CUT TO CLOSER ANGLE - CLIPPER as the passengers disembark. We can see, one by one, men coming off the Clipper. They are all wearing business suits and carrying some kind of briefcase or folder, and are of various races. Any one of them could very easily be capable of murder. Camera pulls back to include Jake, Sarah, Corky, Louie and Jack who are watching the Clipper. LOUIE Mon dieu...with every passenger who disembarks the value of Boragora doubles...lucky for me the price of my 1921 Mouton has also doubled. JAKE When did this happen? LOUIE Just now. Louie goes to the businessmen. SARAH (suddenly) There! JAKE What? SARAH Whitney! There she is! Sarah waves, then runs over to the float landing. CLOSER ANGLE - LANDING as Whitney Bunting comes up on the dock. Behind her, loaded down with in tons of camera equipment, is Prudy Wells. Slightly younger, attractive in a rather unkempt way. Somewhat shy. Whitney sees Sarah and her eyes brighten. They run to each other and embrace. While they talk, Prudy steps on the dock and carefully sets the equipment down. Whitney looks Sarah over for a moment, then: WHITNEY (a sudden realization) And you're still so skinny! SARAH Oh, come on. WHITNEY Now wait a minute. Something's supposed to happen to your thighs and buns as you get older. It's the rules. (looking around) Oh, I get it. No rules here in outer wherever we are. (beat) You live here, huh? You actually live here? SARAH (slightly defensive) It's great. WHITNEY If you're a mosquito. SARAH (shrugging) It's not so bad, once you get used to it. (then) Boy, you look even better than in the movies we've seen you in. WHITNEY Yes, well black and white tends to rob my charm. ANGLE - JAKE AND CORKY as Jake watches the reunion with satisfaction. It seems to be going well. CORKY Jake could we go in for those beers now? I worked all morning on the left engine. JAKE (watching the two girls) In a few minutes. CORKY What are you looking at? JAKE (with a smile) Christmas cards. Down the dock, Sarah turns and calls out to Jake. SARAH Jake! I want you to meet someone! Jake and Corky begin walking over to the group. Jack runs in front of them. CLOSE ANGLE - CLIPPER LANDING as Jake and Corky come over. Whitney looks up -- obviously very "impressed" by what she sees. Jack immediately runs over to the camera equipment, fascinated by the different boxes, and begins sniffing around. Prudy smiles and bends down to Jack. Throughout the scene we can see that Jack has begun to scratch himself. SARAH This is Jake Cutter. He's the best pilot on the island. WHITNEY Nice to meet you. JAKE (shaking hands) I'm also the _only_ pilot on the island. (then) And this is my mechanic, Corky. CORKY You're bigger than in the movies. WHITNEY Thank you. (then suddenly) Oh -- where's my manners! I was so excited to see you that I completely forgot about Prudy. Prudy looks up from the equipment and smiles. WHITNEY She shoots the best film in the whole world far as I'm concerned. The New York office flew her out. PRUDY (to Corky) If you're a mechanic, I could really use your help. The flight was hard on my equipment. I think my rackover handle is jammed. Do you think you could bang it out? CORKY I'll give it a try. PRUDY That is, after some beers. CORKY You like beer? PRUDY I die without it. (then concerned) You do have beer on the island, don't you? Corky looks at her for a moment. Something is happening. CORKY Can I help you with your equipment? PRUDY I'm used to carrying it. CORKY No really, let me do it. Corky goes over and begins to load himself down with equipment. ANGLE - JAKE AND SARAH as Whitney goes over to help "load up" Corky. Sarah continues to smile at Whitney but from the side of her mouth: SARAH (to Jake; whispering) Don't you ever give him a bath? JAKE When he wants a bath he takes one. Jack barks twice to agree, still scratching. Corky walks over to Jake. He is a mass of boxes, straps and cases. JAKE (to Corky) Need some help? CORKY (muffled) It's all right, Jake. I'll take it. Jake smiles as Corky begins down the dock with Prudy. He's never seen him like this. WHITNEY That will be a lifesaver if he can fix the camera. It's the story of a lifetime. JAKE Where am I taking you tomorrow anyway? WHITNEY (off-handed) Some island called Matuka. Run by a princess. (then) I'm going to interview the Emperor of Japan. Jake and Sarah look at her -- surprised. WHITNEY So, can I see what my room looks like? Off their looks we: CUT TO INTERIOR MONKEY BAR HOTEL ROOM - NIGHT We start close on a packet of extremely official looking documents. We pull back to include Whitney, Jake and Sarah. Jake is looking through the documents. WHITNEY I've got clearance from practically every official in Japan. I could probably start my own country with what I've got here. JAKE We still might not get in. It's always trouble going to Matuka. But, now that the Princess is putting up the Emperor...I bet she's sealed that island tight. WHITNEY Uh huh...You know those guys who came off the plane with us? They're waiting for a boat -- from Princess Koji herself to take them to the island to meet the Emperor. JAKE Who are they? WHITNEY Steel, oil, munitions...all leaving sometime tonight to have a chat with the Emperor. JAKE Then, why don't you just go on the boat with them? WHITNEY Our company sinks or swims on deadlines. We have to get in there, film him, then fly to Tagataya where I'll pick up the Clipper again -- and off to San Francisco to get the film processed and into the theatres. JAKE Okay, but there's a big difference between going to Matuka in Koji's boat, and flying in unannounced in the Goose, with an assassin creeping around. It would be better if I radioed ahead. WHITNEY You do what you have to, but I'm going to be on that island tomorrow with my camera, even if I have to build my own raft. I've interviewed Churchill, Roosevelt -- even Mussolini. But that's all been done before. The Emperor on the other hand -- I'd be the very first in the world. Jake looks over to Sarah, then: JAKE I'll let you know. Jake leaves. Sarah is about to go out the door when: WHITNEY Sarah. I'm sorry to talk that way. It's just that it means everything to me. SARAH (evenly) I understand. WHITNEY Can I ask you a question? And I want it square. SARAH What is it? WHITNEY What the hell are you doing here? SARAH I told you. I sing. Downstairs, in the Monkey Bar. Whitney looks at her unbelievingly. WHITNEY Sarah Stickney White. You weren't top of your class at Vassar for nothing. You always had something real special about you. Something you didn't have to work at. There's no way you'd throw that away. SARAH I'm a singer. Downstairs. Nothing is being thrown away. WHITNEY Are you happy? CUT TO CLOSEUP - SARAH as she sings a torch song at the piano. (Note: Corky is not playing.) We pull back to: INTERIOR MONKEY BAR - NIGHT as Sarah sings. We can see the businessmen. Some are listening, but most are in their own little conversations. Files and important looking papers are out on the tables as they talk. Two of them, a Chinese, Mr. Chen, and a German, Mr. Rhinehold, seem extremely secretive as they talk. They are annoyed by the singing -- and especially by Lucas, who is at the bar talking loudly to the bartender. Camera picks up Whitney, freshened up, as she walks in and sits at the bar. As she walks, we pick up Corky and Prudy who are sitting at a table, a half-dozen beer bottles on it. Prudy is looking over her rackover handle. CLOSER ANGLE - CORKY AND PRUDY Prudy is genuinely thrilled at the work Corky has done. He is beaming. PRUDY I've never seen such good work. CORKY It's nothing.... PRUDY Can I ask you something else? CORKY Sure. PRUDY Do you think you could rewire my galvanometer? CORKY If you want me to. PRUDY Oh, very much. Corky looks deep into her eyes for a moment, then: CORKY Want another beer? PRUDY Let's order two this time. His eyes widen. ANGLE - BAR as Lucas slides over to Whitney. She tries to tolerate him. He is drunk. And loud. LUCAS You _are_ the lady on the news things, aren't you? WHITNEY Yes, that's right. LUCAS They don't believe me. That I was there. The guy who shot the Emperor ran right by my nose. Lucas motions broadly and drunkenly, knocking over a bottle, causing the businessmen to recoil from the splash. Mr. Chen motions for Louie to come over. ANGLE - INCLUDING RHINEHOLD AND CHEN as Louie leans down to the two businessmen. MR. CHEN (in Chinese accent) Can you tell me who that man is? LOUIE He's just a sometimes visitor. Mostly stays on his boat. MR. RHINEHOLD (German accent; firm) I ask you nicely please, to keep him quiet. It is imperative that we be able to concentrate. Louie nods and walks over to Lucas. LOUIE (to Lucas) Why don't you get some air? LUCAS Sure. Now I can prove one of my stories and you want me out. Hell, I could pick that assassin out of a stadium during the World Series! As Lucas passes by Rhinehold and Chen, they look down at their papers. LUCAS (looking around room) That's the best thing about me. Faces. They stick to me like barnacles. LOUIE Yes, well that's a very good idea. Why don't you go out to your boat and scrape some off. Lucas is out the door. We can see that not only are Rhinehold and Chen watching the exit of Lucas -- but so are the other four businessmen as well. DISSOLVE TO EXTERIOR DOCK - NIGHT Lucas is sitting on the dock, his head back against one of the lights -- fast asleep. We hear a sound -- as if someone dropped something. Lucas wakes up and blurry-eyed, looks around. He struggles to his feet. The footsteps get closer. Lucas looks up and focuses on the unseen person. FAST FORM - TO LUCAS A figure steps partially into frame, a gun coming up into view. LUCAS (suddenly recognizing) Wait a minute.... CLOSER We hear the thud of a silencer. Smoke rises into the picture. Lucas struggles back, grabbing the lightpole. He looks up again. Two more thuds -- and Lucas is sent flying backwards, and into the water. ON THE WATER Lucas struggles, splashing, then his splashes cease and he sinks out of sight. FADE OUT _END OF ACT ONE_ _ACT TWO_ FADE IN BORAGORA DOCK - MORNING - HIGH ANGLE A bevy of activity. A group of locals, along with Gushie and Louie, are standing around the tarp-covered body of Lucas, which lies at the edge of the water. On the dock we can see Corky and Prudy loading up the Goose with the camera equipment. Whitney is helping them. We can see Jake walking over to Louie. The mood is sober. JAKE'S VOICE OVER It's nothing to brag about, but in my time I've seen a lot of death. It hurts when it's the one you love, and numbing when it's the enemy. But somehow it is the man you hardly know that seems to affect you the most. CLOSER ANGLE - TARP As camera looks up from the tarp to Louie and Gushie, they look down at it. Louie looks tired. JAKE'S VOICE OVER Maybe it's because the closeness of death is at its most real. Not masked by emotion. All I know is, I don't like the feeling. LOUIE (hiding emotion) He will have a proper burial after the inquiry. GUSHIE Does he have any family? LOUIE (realizing) You know -- I never asked. Jake comes up to him. JAKE If you want to change your mind, I'd understand. LOUIE No, you go take the lady. I would say that Lucas was shot sometime after midnight, and the boat for Matuka took away the businessmen at one. The investigation is rather stalled until I can get them back. Jake looks down at the tarp. JAKE (uncomfortable) Someone ought to say something. LOUIE Yes, well, we all know Lucas wasn't a great man. He drank too much, lived off family money -- lied, sometimes. (beat) But he was simple, and I never knew him to hurt a soul. JAKE Not a bad epitaph, I guess. LOUIE No, but they don't give medals for being harmless, do they? JAKE Not yet. Louie looks over to Jake, and then down to the Goose. LOUIE You be careful. If one of those men did indeed fear he would be discovered, he's not going to stop with Lucas. JAKE Don't worry. Someone's got to stick around and keep you honest. LOUIE Heaven forbid. They give each other a look. CUT TO EXTERIOR DOCK - CLOSE ON JACK as he continues to scratch. CORKY Okay, Jack, you can finish that inside. WHITNEY You're going to take him with us? CORKY Jake doesn't fly without him. Jake comes over. JAKE I've talked to Louie, and we can leave. WHITNEY That's terrific. JAKE No, it's not 'terrific.' I still haven't received confirmation from Matuka. WHITNEY Then we're not going? JAKE I don't know. Just give me a minute. CORKY (worried) Jake, I don't know if it's a good idea. Remember what happened the last time we went out there. WHITNEY You've been there before? Then you know the Princess. SARAH'S VOICE Like his own mother. Jake turns around. Sarah has reached them. She gives him a smile. WHITNEY Then what's the problem? JAKE The problem is the fact that Matuka is built like a fortress. It has its own set of rules -- and you never know from one moment to the next what's going to happen. WHITNEY Sounds like Chicago. Let's go. Jack barks twice for yes. JAKE (to Jack) You really think so? Jack barks twice for yes again. Jake shrugs, then helps Whitney into the cabin. Whitney turns to Corky. WHITNEY What happened? CORKY Jake always listens to what Jack has to say. Two barks are for yes. WHITNEY Thanks, Jack. Jack growls at her. Corky and Prudy jump aboard, Corky lugging the last few pieces of her gear. Whitney follows, and Sarah is about to go after her when she realizes Whitney has climbed all the way forward into the copilot's chair. Sarah steps back down and confronts Jake. SARAH (sotto) She took my seat. JAKE It's not your seat. SARAH Whenever I'm on a mission I always sit up front with you. JAKE I know, but she's paying the freight, and she thinks you're just coming along to have a little fun. SARAH (acid) Oooh...I wish I could tell her. WHITNEY (from inside) Tell me what? Sarah pulls away from Jake and starts inside. He pulls her back. ON JAKE AND SARAH JAKE (continuing) Look at it this way...she owes you already. I wouldn't even be going to Matuka without clearance if it weren't to help you out. Sarah considers this, then bucks up. She smiles and steps into the Goose. SARAH Just fasten your seatbelt, honey. We wouldn't want you to fall out. EXTERIOR - SKY - DAY - THE GOOSE in flight. INTERIOR GOOSE CABIN - DAY Sarah is with Prudy and Corky. The camera boxes are open and the contents are spread on the seats. The "team" is cleaning the parts. Every time another piece of equipment is taken out, it is covered with flakes of the sponge rubber packing. The flakes brush off all over Jack. He sits by the open boxes, continuing to scratch on and off. Sarah has a cleaning cloth in her hand, but her attention is elsewhere: in the cockpit we hear Jake and Whitney talking. We can't hear what they are saying, but we can hear outbursts of laughter every few minutes. Sarah is straining with all her might to hear what they are talking about -- while still trying to "help" Corky and Prudy with the equipment. She absentmindedly reaches for the main body of the camera. Prudy takes it from her. PRUDY Oh, that's okay, Sarah. I better clean this one myself. It's the heart of the whole camera. SARAH (still at cockpit) Sure. CORKY You know, Prudy was just telling me how much she enjoyed your singing last night. PRUDY Yes, you do have a lovely voice. SARAH Thank you. PRUDY I was going to be a dancer once. Even studied with the Hoff Ballet Company. But it was just too much work. (then) I love artists. They are such sensitive people. There is another burst of laughter from inside the cockpit. SARAH (yelling in) What's so funny? Jake turns his head and yells out: JAKE Whitney was just telling me about your senior pajama raid. Did you really used to wear longjohns? SARAH It's cold at Vassar! Whitney says something else to Jake, who laughs even louder. PRUDY It must have been swell having Whitney as a roommate. She's really wonderful. SARAH (still looking at cockpit; dry) She's a peach. (then) If you'll excuse me. Sarah gets up and walks over to the cockpit. INTERIOR COCKPIT as Sarah peeks her head through. She is all smiles and warmth. SARAH Everything okay? JAKE Just great. Whitney has some amazing stories. WHITNEY Too bad there's no room up here for you. Sarah pulls up Corky's tool chest. SARAH We'll make room. With that she plunks the chest down between them. DISSOLVE TO EXTERIOR - SKY - DAY - ON GOOSE - STOCK as it continues to fly to Matuka. Time has passed. JAKE'S VOICE OVER Haywood Floyd was my favorite author when I was growing up. In his books he always had adventures with two beautiful women at his side. He made it seem like the greatest thing in the world. INTERIOR COCKPIT In a three shot, we can see the now sober faces of Whitney to our left, Jake to our right, and almost out of frame at the bottom -- Sarah. They all just stare straight ahead. Over this: JAKE'S VOICE OVER I was beginning to think that Haywood Floyd was either a liar or just out of his mind. The plane bumps. Sarah looks uncomfortable. A sandwich is brought close to Sarah's face. CORKY Look what Prudy brought. She made them herself. They're the best banana and peanut butter sandwiches I've ever had. PRUDY (from in cabin) Corky, please. You're embarrassing me. CORKY Prudy brought the peanut butter all the way from Jamaica. (to Sarah) You want one? SARAH (queasy) No -- that's all right. WHITNEY Ahhhh. SARAH Ahhh what. WHITNEY Never fails. First timers. Don't have your flying legs, huh? I remember that feeling. SARAH I'm not a first-timer. I've done it before. (quickly) Fly -- I've flown before. WHITNEY (continuing) I'll tell you, when you fly as much as I have -- five times around the world -- you learn to do three things practically anywhere. Eat and sleep. Jake looks up for a moment and thinks. JAKE That's only two. What's the third? Whitney just looks at Jake and smiles. SARAH It's just that I had a large breakfast this morning, otherwise.... WHITNEY You don't have to make excuses. Not everyone is built for adventure. That does it. Sarah grabs the sandwich away from Corky and takes a big bite. She chews for a moment, and we can almost see the green forming on her face. CORKY Good, huh? She just continues to chew. Jake adjusts the throttle, then: JAKE We should be there in about fifteen minutes. WHITNEY Good. (then to cabin) How's the equipment coming? PRUDY (yelling back) Don't know how I ever managed without Corky. CORKY Ahh, Prudy, now you're embarrassing me. Jake turns back to the controls. JAKE There's one thing I don't understand. Why's the Emperor so anxious to have you interview him anyway? WHITNEY Are you kidding? Our newsreel is the biggest in the world. He needs the press -- you know 'a grand declaration of peace' and all. Show us that he's a good Joe. Hell, if he wanted to sell toothpaste, it wouldn't matter to me. Just as long as I got him on film. JAKE That's it then? WHITNEY I'm a reporter, Jake, just like you're a flier. Corky sticks his head in from the rear cabin. CORKY Hey, Jake, Zeros at nine o'clock! Jake quickly looks out the window to his left. JAKE'S POINT OF VIEW THROUGH WINDSHIELD - ZEROS - STOCK as they fly towards us. INTERIOR COCKPIT as Whitney and Sarah both look out. Corky runs back to the cabin to see them through one of the side windows. WHITNEY Zeros? What are they doing here? JAKE Clearance must have gone through. They're our escorts. WHITNEY (shocked) It went through? JAKE Why do you act so surprised? WHITNEY Nothing -- just, I don't know. Zeros for escorts? JAKE I told you Matuka isn't your usual island. (then) I better waggle the wings to let them know I see 'em. EXTERIOR GOOSE - STOCK as the wings waggle. ANGLE - ZEROS - STOCK They do not return the waggle. One of the Zero pilots gestures the Goose down. INTERIOR COCKPIT as Jake begins to descend. He seems more relaxed. JAKE They've seen us; we'll just follow them in. INTERIOR CABIN as Corky looks out. He then looks over to Prudy. CORKY (reassuring) It's going to be okay now, Prudy, don't worry. Jack jumps up on the seat. He is still scratching. Corky looks down at some of the camera packing that has flaked off. It is on Jack's coat. CORKY Hey, Jake, I found out what's wrong with Jack. It's the sponge rubber from the camera cases. It's giving him a rash! INTERIOR COCKPIT as Jake turns to Corky. JAKE That's right. I remember once before when we were.... Suddenly we hear machine gun fire. ON ZERO WING GUN - STOCK Another burst of fire rips out. INTERIOR COCKPIT Jake cringes, flaring with anger. He motions to the Zero pilot as the other plane zooms by. JAKE Okay, pal...whatever you say. I thought I was doing it your way. SARAH What's that all about? JAKE Warning shots. SARAH Why are they shooting at _us_? JAKE (to Whitney) I don't know. Why are they shooting? WHITNEY What are you looking at me for? JAKE Because I get the feeling we're not so official as we're supposed to be. ON THE ZEROS - STOCK lining up for another pass. ON THE GOOSE dropping at a steep rate of descent. INTERIOR COCKPIT - ANGLE TO CABIN Jake is putting everything he's got into flying the Goose out of trouble. CORKY (from the back) I don't think they're gonna let us turn around, Jake. Jack barks twice and heads for his parachute. Sarah is looking suspiciously at Whitney. SARAH We do have clearance, don't we? WHITNEY Well...not exactly. (to Jake) What do they want? JAKE They want us down, and right now. ON ZERO - FLASHING PAST - STOCK The wing gun opens up again. INTERIOR COCKPIT Bullets shatter the windshield, crashing through the instruments. Smoke pours out. Sarah and Whitney cough. JAKE (toward Zero) Just couldn't wait, could you? His hands fly over the controls, fighting the damaged plane. JAKE (to Whitney) What do you mean, 'not exactly'? All those papers are fake? WHITNEY How the hell else was I supposed to get on that island? Jake gives her a cold and angry stare as he works to land the Goose safely. EXTERIOR - SKY - GOOSE - STOCK as it drops to the ocean -- smoking. DISSOLVE TO EXTERIOR MATUKA SHORE - DAY as we see the Goose taxi towards the shore. The engines die. WHITNEY'S VOICE Hey, we're here aren't we? INTERIOR COCKPIT - DAY JAKE Oh we're here all right. On a Japanese island teeming with samurai who just pray for trespassers to bloody their swords with...on a day the Emperor himself is trying to duck an assassin. CORKY I don't think those engines are going to stand take-off power without a lot of work. JAKE Okay, then I'm going to go ashore, try to intercept a patrol...find somebody who speaks English. WHITNEY I'll come with you. JAKE I don't want to see anyone coming out of the hatch except Jack. (then to Corky) Taxi the Goose out about a hundred yards and wait for me. I don't want some second lieutenant who's never seen you before trying to collect his premium for initiative in the field. Princess Koji just loves initiative. WHITNEY Jake, I'm.... JAKE 'Stupid' is the word I think you're looking for. He walks past her, and out the hatch. EXTERIOR GOOSE as we see Jake and Jack jump out and begin through the jungle. DISSOLVE TO EXTERIOR JUNGLE - DAY as Jake and Jack walk carefully through the thick vegetation. Over this: JAKE'S VOICE OVER In situations like this, Haywood Floyd used to always write that you first had to look for mantraps. He said to look close to the ground for any triggering devices. What I was beginning to realize was that not only was Haywood Floyd a liar -- he was probably also a very short man. Jake straightens up from his crouched position, only to be met face on by a thin vine that stretches across his forehead. It snaps. Jake immediately looks around. JAKE'S POINT OF VIEW - SKY BEHIND HIM A heavy section of palm tree trunk is swinging toward him. Sticking out of it on all sides are sharpened bamboo points. JAKE as he runs like hell to get out of its way. JAKE Jack -- watch out!! With that, he jumps a few extra feet as the swinging treetop just misses him. Jake drops out of frame. INTERIOR PIT Jake falls in. We can see that he has just missed one of five large bamboo spikes that are sticking out of the ground. He looks up. JAKE'S POINT OF VIEW - TOP OF PIT as Jack looks down at him, barking. We can see large fern leaves behind him. Through the fern leaves we can see descending on us, a woven "cover" -- just fitting the size of the pit. On the ends -- more sharpened bamboo. Water begins to pour into the pit. SIDE ANGLE - PIT as Jake fights to stay away from the descending knives. He has two choices: drowning or being impaled. Suddenly we hear another sound. It is the sound of footsteps. Jake hears them: JAKE Help -- get me out of here! As if to answer, we hear the sound of laughter. It's a sinister and cold laugh -- and very familiar. Confused, Jake looks up. JAKE'S POINT OF VIEW - TOP OF PIT as, through the descending bamboo spears, we see Todo, as he bends down and just continues to laugh. FADE OUT _END OF ACT TWO_ _ACT THREE_ FADE IN INTERIOR PIT - DAY - LOOKING UP AT TODO as the water is almost at the top. Jake is fighting to stay away from the knives above him -- and from drowning in the water below. Todo continues to laugh. Jake is having a hard time staying under the water -- and there is virtually no room left between him and the knives above. Suddenly Todo stops laughing and shouts orders to another samurai warrior. The other warrior comes into view and in one move, pulls the "lid" from the top of the pit and throws it behind him. Jake lifts his head up for the first real full breath of air in some time. Todo then throws down a large seaman's net, which flies down and over camera. CUT TO CLOSEUP - NET A smaller version of the one thrown over us. We follow it as it scoops up a carp from a large aquarium. Camera pulls back to: INTERIOR KOJI'S TEA ROOM - DAY as the samurai carries the flapping carp in the net over to a smaller bowl filled with water, on a table in front of Princess Koji. She sits in her large chair, sipping sake and looking over her "catch": In front of the table, Jake, Jack and Corky, and behind them Sarah, Whitney and Prudy. Jake has a blanket over his wet clothes. He looks cold -- and angry. Princess Koji just continues to look at the carp in the bowl -- letting the group stand in anticipation for a moment, then: PRINCESS KOJI (without looking up) Carp are the only fish with a soul. It's pure, honest... (then to Jake) Undeceiving. JAKE I was under the impression that you knew we were coming. PRINCESS KOJI I received your message yesterday. Tokyo, however, knows nothing of these documents. JAKE I know, and I will take full responsibility for that. PRINCESS KOJI That is very gallant of you, considering the fact that you were, how you say, 'duped' by Miss Bunting. Whitney looks up surprised. PRINCESS KOJI Oh yes, I had you checked. Rather a zeal for reporting, wouldn't you say? Unfortunately, all your efforts will be for naught. WHITNEY Well, as long as we're here, why not --- PRINCESS KOJI There will be no interview! The Emperor is in seclusion. WHITNEY He wants this interview. JAKE Whitney! Todo glares at the group. TODO (with fury) I will kill them for you now --- Princess Koji motions for Todo to be quiet, then points to the samurai and to the fish bowl. The samurai stands over the bowl and, in one lightning fast motion, grabs the carp out of the bowl and places it on a gold platter. Flapping on the platter, he brings it down, below our view to the cutting table. PRINCESS KOJI It is called ikizukuri. We take a live carp, and in two and a half seconds cut it up and reassemble it without disrupting any of its life functions. It feels nothing. She nods to a samurai who, in a blur of his blade, does his work on the fish below him. VARIOUS SHOTS - GROUP as they react to the ikizukuri. FULL as the samurai brings the platter to Princess Koji. (Note: we do not actually see the fish at this point.) Princess Koji takes out her jade chopsticks and picks up a piece of the raw fish. She offers it to the group, who all decline the offer. PRINCESS KOJI It is our belief that the only way to get to its soul...its truth, is to conquer, then devour. Quickly. She gently lays the fish on her tongue then, her eyes closed, swallows it. Then: PRINCESS KOJI Do you understand? JAKE Princess Koji, if I may have a word with you. Todo walks in front of him to silence him. PRINCESS KOJI Words are so cold by themselves. They must be warmed to be digested properly. JAKE It's important. PRINCESS KOJI (to Todo) Find them some rooms while I decide what to do with them. (to Jake) And you may join me as I dress. She pops another piece of fish into her mouth as she keeps her eyes on Jake -- and chews. CUT TO INTERIOR PRINCESS KOJI'S DRESSING ROOM - DAY Princess Koji is surrounded by a group of petite geisha girls. They are her dressers. One of them holds up an elaborate, exquisite white gown. As Princess Koji and Jake talk, they begin disrobing her. Todo is there, at the far end, looking out the window. Jake tries very hard to avert his eyes. PRINCESS KOJI Please, sit down. Have something to drink. JAKE Not now, I have to talk to you. Last night, on Boragora, a man was killed. PRINCESS KOJI Yes, and I also heard it snowed on Mount Fuji. JAKE You don't understand. This is different. The man who was killed claimed to have been in Tokyo when the Emperor was shot. He saw the assassin. The girls take off Princess Koji's robe. We can see her bare back. Jake turns away. PRINCESS KOJI (to Jake) Will you hand me that towel? Jake looks around and sees a small towel next to him and tries very carefully to hand it to her without looking. Over this: JAKE He was bragging about this in the Monkey Bar -- in front of a group of businessmen -- the same group who are on this island now. The Princess pours some perfume on the towel, then pats her body with it. She makes no move to cover herself. Jake is having a hell of a time. PRINCESS KOJI So you believe that this assassin could be on this island, with the Emperor here? JAKE Yes, I do. PRINCESS KOJI You realize that I have known these businessmen since I was a child. JAKE That could be, but our sources say that this man is a master of disguise. If he got away with impersonating the Emperor's friend.... PRINCESS KOJI (more serious) You do have a point there. She begins to step into her gown. We can see that she is indeed beginning to worry. We've never seen this side of her. JAKE I might be able to help you locate him. TODO My Princess, I would advise against it. It is an insult to our security! By now the Princess is in her gown. It looks striking on her. The girls begin to primp her hair. PRINCESS KOJI Do you like this gown? I am dining with the Emperor tonight. (then) No, I'm sorry, but Todo is right. I must confine you to your room, and the garden, while the Emperor is here. It would upset me greatly if you were to disobey these orders. She motions to the girls, who go over to Jake and, removing his blanket, begin to take off his wet clothes. Jake looks up at Princess Koji, surprised. PRINCESS KOJI On my island I would rather sentence you to death that to have you catch it. ANGLE - PRINCESS KOJI As the girls continue, she watches nonchalantly -- patting her perfumed towel to her lips. CUT TO INTERIOR SARAH AND WHITNEY'S ROOM - DAY The two ladies are settled into their new room. Whitney is sitting on one of the beds, eating something out of a ceramic bowl. Sarah is pacing. SARAH What are you eating, anyway? WHITNEY Jellyfish. Want some? SARAH No. Whitney puts the bowl down, then stretches out in her bed. WHITNEY Well, what do you know. After all these years we're roommates again. SARAH (even colder) Yes, what do you know. WHITNEY Tell you what. I'll see if the Princess has a copy of _A Farewell to Arms_ for me, and anything by Thomas Mann for you, and we'll put on some Gershwin.... SARAH It really doesn't affect you, does it? WHITNEY What? SARAH You can just sit there, eating your jellyfish and talking about old times, when just hours ago you could have had the lot of us killed! WHITNEY Don't you think you're overreacting? SARAH No. You actually don't see anything wrong with what you did. WHITNEY I have a job to do. SARAH That doesn't include dragging us down with it. WHITNEY Well, no one asked you to come. (then) Why did you come with us anyway? SARAH I'm the one asking the questions.... WHITNEY Don't interrogate me. God, you're acting just like that night you caught me going out with Doug Dradugio. SARAH I'm talking about endangering us for your damn career, with false documents and all. WHITNEY It was important that I got on this island. SARAH That's just what I mean. You never once thought about... (then) And when did you ever go out with Doug Dradugio? WHITNEY The question should be, when did I _not_ go out with him. (a beat) And one way or another, I'm getting that interview with the Emperor. It's my duty. SARAH Oh, cut out the 'duty' speech. You always thought you were holier than thou. You're the only girl I knew who took her job as chairman of the refreshment committee as if it was a personal request from Franklin Delanore Roosevelt! WHITNEY That's Dela_no_, not Dela_nore_. SARAH How do you know? WHITNEY Well, I interviewed him enough. SARAH And that's another thing. I'm sick of your dripping name dropping...or the other way around. (beat) And don't you tell me you dated Doug Dradugio! WHITNEY (patronizing) Sarah darling, isn't there a statute of limitations on jealousy? That does it. In anger, Sarah picks up the bowl, throws it at the wall. It breaks, its contents scattering everywhere. Just then the doors slide open and one of the geisha girls walks in. She has in her arms Jake's wet clothes. Sarah sees them, and her eyes widen. GEISHA GIRL Is everything to your satisfaction? SARAH (sudden politeness) Oh yes. WHITNEY (all charm) And please convey to the Princess that the jellyfish was delicious. The geisha girl bows and leaves. The two "roommates" just stare at each other in anger. INTERIOR PRUDY'S ROOM - NIGHT It is somewhat dark in her small room. Prudy, her back to us, is seen working diligently at a small table on the mechanisms of her camera. We can see the shadowy figure of someone else as he enters the room and slowly, quietly, begins walking towards Prudy. Just as the figure is behind her, Prudy, sensing someone in the room, turns, look up -- and gives a startled yell. The figure turns. It's Corky. CORKY Oh, I'm sorry, Prudy. I didn't mean to scare you or anything. PRUDY (catching her breath) That's okay -- I was just so involved in my work...and with all this talk about an assassin.... CORKY (proud) Well, my room is right next door, and if I hear something I can get here in no time! PRUDY I guess I have nothing to worry about then. Corky, with newfound confidence, sits down next to her at the table. He looks over the camera pieces laid out on the table. CORKY What are you doing? PRUDY Since it looks like the interview with the Emperor is off, I thought it would be a good time to overhaul my camera. CORKY I can help you. PRUDY That's not necessary. Corky picks up one of the parts and, putting some camera oil on a clean cloth, begins to polish it. There is an awkward moment of silence as they both clean the part, then: CORKY Your boyfriend's really lucky to have someone who...who knows so much about mechanical stuff. PRUDY I don't have a boyfriend, Corky. They reach for the same piece of camera equipment. They both hold it for a moment, then Prudy takes it away. After a beat when their eyes lock, Corky looks down. CORKY I gotta go now, Prudy. I'll talk to you later.... He turns and quickly goes out of the room. EXTERIOR PRINCESS KOJI'S GARDENS - WATERFALL - NIGHT The area is laced with large but delicate Japanese lanterns that light up the water, and the small bridge behind it. Jake is leaning against the bridge looking out. JAKE'S VOICE OVER It was driving me crazy. Something I remembered in the Goose right before the Zeros attacked. All I knew was that it had a hell of a lot to do with the Emperor's assailant. (beat) At least there was one good thing about Haywood Floyd books. If you lost your place, you could always go back and find it. CORKY'S VOICE Jake! I'm glad I found you! Jake turns to Corky who runs up to him. He looks terrified. JAKE What's wrong? CORKY Ahhh...I'm all confused. Jake smiles warmly, knowing Corky will get it out in his own time. CORKY (continuing) Remember what Louie was talking about? JAKE Louie? CORKY Yeah, Jake. You know, about passion. So I thought I'd try what he told me. JAKE You tried passion on Prudy? What did you do? CORKY (big secret) We stared at each other for almost a minute. I got frightened and ran out, and now I think she thinks...I don't know what she thinks. (beat) What should I do, Jake? Jake thinks for a moment, then: JAKE Well, it's like when you fall off a horse. CORKY What is? JAKE Love. CORKY You mean it hurts that much? JAKE I mean if you want to keep riding, you've got to get right back on that saddle. Try again. CORKY I was never good on horses, Jake. (then) Oh, I get it. JAKE Take it slow this time. Let her make some moves. I'm telling you, women have a million different ways of letting you know when they're interested. You just have to keep your eyes open. CORKY I'll try that, Jake. Right now. Thanks a lot! Corky runs back down the bridge. Jake looks at him, smiling. Jack jumps up on the railing. JAKE (realizing) Wait a minute... (then) What do you think, Jack? Jack barks twice for yes. JAKE (changing his mind) No, it couldn't be. Jack looks at him for a moment, then jumps off the railing and also runs down the bridge. JAKE (trying to convince himself) It just couldn't. CUT TO EXTERIOR PRUDY'S ROOM - NIGHT Corky stands just outside the room. He has some obviously freshly picked flowers in his hand. He just stands there. He doesn't have the nerve. He's about to give up and go away, when Jack runs up to him. He looks up at Corky. CORKY (whispering) Go away, Jack. I gotta go in there. Jack just stays there. So does Corky. Jack has lost patience and slips into Prudy's room through an opening in the sliding doors. CORKY (calling out) Jack! INTERIOR PRUDY'S ROOM - LOW ANGLE PRUDY'S VOICE Well, hello Jack. Are you hungry? Jack barks once for no. CORKY'S VOICE (calling from outside) Prudy? I'm sorry about Jack. PRUDY'S VOICE Oh, that's all right. EXTERIOR PRUDY'S ROOM - ON CORKY as he continues to stay outside. CORKY Do you mind if I come in? PRUDY I'd like that a lot, Corky. But I'm not dressed now. CORKY Oh, I wouldn't want to come in then. INTERIOR PRUDY'S ROOM - CLOSE ON TABLE as we see her finely manicured hands dismantling the piece of camera equipment that she and Corky had reached for earlier. She takes out some pieces from the body of the camera and begins to reassemble them into something else. We can't make out what it is yet. Over this: CORKY'S VOICE I, ahh, brought you something. PRUDY'S VOICE A present? CORKY'S VOICE Sort of. Flowers. I picked them myself. We suddenly can make out what the pieces have become: it is a small zip gun. From another part of the camera, Prudy's hands pull out one large, deadly looking bullet. PRUDY'S VOICE Oh, I just love flowers. But really, I'm very tired. It's been quite a day. I think I'm going to turn in early. ANGLE - JACK as he looks up at Prudy. He growls softly. CORKY'S VOICE (disappointed) Well, okay. I'll just leave the flowers out here then. JAKE'S POINT OF VIEW - PRUDY as camera pans up her legs, and torso. Over this: CORKY'S VOICE I'm sorry about Jack. I hope he didn't see anything he shouldn't have. We are now at Prudy's face. To our shock, we can see that -- wig off, and without makeup, it's a man. The voice is the same feminine, lilting Prudy we've known. It's disquieting. Prudy holds up the zip gun and loads the bullet in it. PRUDY Don't worry, Corky. He's been a perfect gentleman. FADE OUT _END OF ACT THREE_ _ACT FOUR_ FADE IN DAY - CLOSEUP - FLOWERS They are the ones Corky had brought to Prudy's the night before. They are now wilted. A hand comes down and snatches them up as we pull back to: EXTERIOR PRUDY'S ROOM - DAY Chaos. Todo, having grabbed the flowers, checks them over, then flings them into the room. The sliding doors are open, and inside we can see other guards tearing the place apart -- looking for clues. They have all the camera equipment, boxes and supplies scattered on the floor as they look at each and every piece. Todo goes over to the dresser and picks up the wig that was once Prudy's hair. He turns, and we see Jake at the entrance of the room, held by one of the guards. Jack is with him. Todo is in an rage. TODO (to Jake; waving the wig) You brought an assassin to this island! JAKE I didn't know who it was. TODO You expect me to believe that! JAKE It's the truth, but no, I don't expect you to believe that. TODO You will pay for this. I shall make sure, personally! (then; to guards) Bring in the rest. As Jake walks over to the dresser, Sarah, Corky and Whitney are brought in. They look as if they've been rustled out of bed. Each looks at the room -- shocked. WHITNEY Oh my God. Look what they've done to my equipment! (then to Todo) What have you done with Prudy? JAKE They didn't do anything. Prudy disappeared last night. CORKY (concerned) Prudy is gone? JAKE Corky, listen, I've got something to tell you.... TODO (holding up wig) Your Prudy's not what he seems. CORKY (shocked) _He_?! JAKE I'm sorry, Corky. Prudy is the assassin we've been looking for. CORKY (shocked) Prudy was a man? All the time? SARAH (suddenly remembering) Of course. He talked about the Hoff Ballet Company on the plane! That's an all male troupe. Why didn't I catch that? JAKE Don't feel bad. It was staring me in the face from the beginning, and I didn't see it either. Jack's rash. He's allergic to sponge rubber, but not the stuff in the camera cases. Jake picks up one of the rubber supports from the camera case. JAKE He started scratching the minute he got close to Prudy...she... he...must've been using sponge rubber pads to give him...all those curves. (a beat) I remembered it last night...but it just seemed too far fetched. WHITNEY Where is he now? JAKE I'm sure as soon as the interview with the Emperor was cancelled, he planned another disguise. Who knows what he is now. CORKY (still not believing) But I was going to kiss her...him. I almost did. (realizing) Jake, he was going to be my girlfriend! TODO Genius Americans who can't tell the difference between men and women! WHITNEY (right back) Well how about the Emperor. Couldn't even tell his own friend. Jake suddenly cringes at that. At the same time, the group of guards all stand at attention and with their hands on the handles of their swords, begin to withdraw them. TODO You dare to speak of our Emperor like that? JAKE Now just hold on! The swords are pulled even further out. WHITNEY Look at the way you talk about Americans. JAKE Whitney -- for once would you just shut up! She looks over at him surprised. Sarah smiles at Jake. She loves it. But then the mood turns sober as the swords slowly continue to come out. WHITNEY I don't get it. What are they doing? JAKE You really did it this time. It's a warrior code. Once their swords are completely drawn from their sheaths, they have to taste blood. WHITNEY Oh, they wouldn't.... JAKE Yes, they would. (then; to Todo; thinking fast) You can kill us if you want. But then you will not be able, ever, to save face. Todo shouts something in Japanese, and the guards start pulling their swords out faster. JAKE Or does a black spot on your soul mean nothing to you? TODO (to Jake; interested) Continue. Even as Jake talks, the swords keep coming out. We can just about see the tips. JAKE You have this man running loose on the island. It is your responsibility. You can't find him because you don't know what he looks like without makeup. I know someone who does. Todo shouts another command in Japanese. And the guards stop. Everyone breathes a sigh of relief. TODO And who is this person? JAKE Jack. Jack barks twice for yes. Todo looks over to Jack for a moment, then shouts the first order, again causing the swords to continue coming out. JAKE I'm telling you, he can find the man. You have nothing to lose. You can kill us anytime, but your Emperor's life is at stake. What do you have to lose?! Todo thinks for a moment. Then shouts the "stop" command. Then, another command, and the guards push their swords all the way back into their sheaths. Another moment of relief. TODO You will all stay here, under guard. I will take the two to Princess Koji. (then; to guards) I am sure this is only a postponement. Your swords will see the light of day. He looks dark at Jake, as we: CUT TO EXTERIOR PAVILION - DAY - FULL In front of the waterfall and garden, the enchanting, gazebo-like pavilion sits behind a quiet pond -- filled with snow white swans. It's so peaceful...except for a strange "whizzing" sound -- and a horrified scream of "Noooo!" CUT TO CLOSEUP - MR. RHINEHOLD Sweating profusely, he looks up in adjunct terror. MR. RHINEHOLD (in German accent) Please, Princess Koji, I need more time! We pull back to: INTERIOR PAVILION - DAY Kneeling in front of Princess Koji are the six businessmen we have seen before. Except now they don't seem so in control. One reason is that behind each of them is a ninja guard. Each guard holds a jutzo -- a short pole with a free-wheeling knife attached to it -- under their right arms. The ninja behind the first businessman, Mr. Rhinehold, is swinging his jutzo over the man's head -- ready at the slightest nod from Princess Koji to lop it off...hence, the "whizzing" sound. Princess Koji walks back and forth in front of the man. They are bathed in sweat. PRINCESS KOJI If you are indeed Mr. Rhinehold, who I have known for so many years, the question is easy. MR. RHINEHOLD But, the noise of that...weapon makes it so hard to concentrate.... PRINCESS KOJI To dine with my mother and me should be a memory so vivid one could recall every detail in an instant. In 1921 you took us to a rather mediocre Szechwan restaurant in Saratov, Russia. What did I order? Mr. Rhinehold thinks very, very hard. Then: MR. RHINEHOLD I remember now -- I had the kung pao scallops.... PRINCESS KOJI (losing patience) I have no interest in _your_ meal. What did _I_ have? MR. RHINEHOLD (almost pleading) Chicken salad. Princess Koji nods to the ninja, who in one quick motion, turns the jutzo so that it slaps to silence under his arm. ANOTHER ANGLE as Todo brings Jake and Jack into the pavilion. Princess Koji sees them and walks over, leaving the businessmen on their knees. Jack walks over to an area of pillows and climbs up on an empty one -- between two geisha girls sitting on their pillows in the lotus position. PRINCESS KOJI (to Todo) I am getting nowhere. Either this assassin is impossibly well versed on my private life -- or he is simply not among us. JAKE I may be able to find him. TODO Silence! PRINCESS KOJI (to Jake) I am very disappointed in you. After my "interviews" are completed, we will discuss punishment. TODO (eyes lighting up) Yes, my Princess. (then) But if I may, I have brought someone who has seen this assassin. He may be able to help. PRINCESS KOJI Bring him to me. TODO He is right over there. ANGLE - JACK He stands on the empty pillow and growls. FULL SHOT as they all look at Jack. PRINCESS KOJI (sarcastic) I'm sure he will be of great help. Todo gives Jake the deadliest of stares. He has made him look like a fool one time too many. JAKE Just listen.... PRINCESS KOJI There is nothing more to discuss. As Jake continues, we can see Jack sit up and begin scratching himself again. Jake notices it. JAKE (to Princess Koji) Wait a minute. Who was sitting on that pillow? PRINCESS KOJI I don't see how that is any.... JAKE (firm) Dammit, there is no time left! Please, just answer me. Todo begins to take the sword out of his sheath. TODO No one may talk to the Princess in that way and live. Princess Koji holds up her hand to silence Todo. She looks at Jake. It's a different look. Maybe a hint of vulnerability. As if she does, indeed, need some help. PRINCESS KOJI (evenly) It was one of the geishas. She is on to other duties. JAKE Where did she go? PRINCESS KOJI She is serving tea to the Emperor. It is a special ceremony. She is the best server on the island. JAKE You must take me there -- now! PRINCESS KOJI (back to stone) That I cannot do. I will not disrupt the Emperor's tea. JAKE How do you know it's the same girl? PRINCESS KOJI That would be impossible. Jake looks around. He can see the other ninja guards are all looking at him now. It is a tense moment. He must make a decision. In a quick move he gives Todo a body block, knocking his wind out for a moment, and in that instant he runs like hell out of the pavilion. EXTERIOR PAVILION - FULL SHOT as Jake leaps out, we can see Todo as he too runs out of the pavilion. CLOSER ANGLE as Jake begins to run. Todo right behind him. We can see other guards begin to chase. TODO Do not move! He is all mine! In a grand gesture, Todo pulls his sword all the way out, holding it high in the air as if in ceremony. The deadly sharp blade glistens in the sun. He then takes off after Jake. ANGLE - JAKE as he runs. He looks around and sees Todo, fire in his eyes, charging with the drawn sword. CUT TO INTERIOR TEA ROOM - DAY A drastic contrast from the tension of the moment before. The soft, late afternoon sun is filtered through the rice paper walls -- soothing Keoto music is playing. We see the geisha girl is approaching the Emperor with the tea service. The Emperor is in military dress. Behind him at the entrance -- two guards. The geisha bows to him -- and then looks up at him with the same eyes we saw earlier when he was posing as the Emperor's friend. From his waist, we can see him reach for the gun -- and slowly pull it out. Suddenly from behind them -- through the paper walls, Jake crashes through. Immediately at his tail is Todo. The guards inside charge toward Jake. Jack follows the group in and begins to growl, adding to the confusion. Jake leaps for the geisha just as she tries to go out the exit. CLOSER ANGLE - JAKE AND GEISHA as he rips off the geisha's wig, exposing Prudy underneath. LOW ANGLE - LOOKING UP AT TODO as he runs towards Jake, his sword over his head for the kill. JAKE Look who it is! Jake turns Prudy around for Todo to see. In that split second of confusion, Prudy pulls out his zip gun and fires up at Todo. Jake knocks his hand as he fires. The bullet misses Todo, shattering in a burst of sparks on his blade. Todo's eyes widen as the blade comes down hard -- out of frame. ANGLE - ENTRANCE as Princess Koji runs in, followed by some of the ninja guards. PRINCESS KOJI'S POINT OF VIEW - TEA ROOM as camera pans, we first pick up Todo, who wipes the blood from his sword, then puts it back into his sheath. We continue to the broken walls of the tea room -- then to Jack -- and finally, Jake. He smiles. JAKE Princess Koji. The Emperor will have tea with you now. We widen to see the Emperor. He rises, then bows to the Princess in a grand gesture of thanks. FADE OUT _END OF ACT FOUR_ _TAG_ FADE IN EXTERIOR BORAGORA - DAY - ON CLIPPER LANDING as a group of passengers are boarding the plane. Whitney and Sarah walk towards the landing float. They are talking. Jake and Jack are right behind them. WHITNEY ...and then, I'll probably be off to Hungary. There's this man who just invented something called the ball-point pen. After that...who knows. SARAH Yes, who knows. They have reached the landing. Jake steps up and gives Whitney a hug. WHITNEY You're being awful nice to somebody who nearly got your tail shot off. JAKE I figure we're even. You paid for a ride all the way to Tagataya and I never got you there. WHITNEY One of these days.... Jack barks no. Whitney turns to Sarah. They are silent for a beat. SARAH Listen, about some of the things I said to you back on Matuka.... WHITNEY I deserved every word. Well, maybe not _every_ word. They laugh. WHITNEY Besides, I lied. I'm the one who's terribly jealous. SARAH Of what? WHITNEY You kidding? With Princess Koji's orders, I can't even tell my editor where I was all this time, let alone give them the story of the assassin. All my camera equipment is destroyed...that's going to be fun to explain. SARAH But what's that have to do with jealousy? WHITNEY I don't know. You're here, it's quiet, beautiful, and well -- you got friends. People who give a damn about you. That, I don't think I'll ever have. JAKE You're on the right track. We can hear the Clipper's engines start up. Whitney gives Jake another peck, then gets up on the landing. WHITNEY I gotta go. Thanks for...a lot of things. (yelling over engines) And by the way. Just in case something happens to me. I never did have a date with Doug Dradugio. He was stuck on you all through school. How boring. Sarah smiles, then: SARAH (yelling) Be careful, Whitney. WHITNEY I will.... The rest of her speech is lost under the roaring engines. Whitney goes into the Clipper. SARAH (to Jake) What'd she say? I couldn't hear her. JAKE She said she saves all your Christmas cards. Sarah lights up with a smile and she and Jake wave goodbye toward the Clipper. FREEZE FRAME AND FADE OUT _THE END_
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