TALES OF THE GOLD MONKEY

STORY OF A LIFETIME

Contributing Writers
Andrew Schneider
Tom Greene

Written: January 18, 1983



			_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_



Return to the Episode Guide
Go to the Main Web Page

This WWW page is owned and operated by Patricia Annino gmonkey@goldmonkey.com