_ACT ONE_ FADE IN: EXT. OCEAN -- ON FERRY -- NIGHT -- (STOCK) EXT. UPPER DECK -- NIGHT We hear the usual sounds of a ship at night: the bass thud of steam pistons, the disembodied talk of a few passengers, and the muted radio broadcast of "Cherokee." ON CAPTAIN POWELL -- FOLLOWING As he strolls the deck, pausing, peering into the weather. A distant noise breaks the pattern: a muffled, explosive burst of water and air somewhere out in the night. The Captain stands, puzzled. Then he continues his stroll, passing three people at the railing. ANGLE ON THE PASSENGERS. Louie stands talking with a man and a woman. The gentleman is O.C. Cope, an obsessive, sardonic, Eastern-educated American paleontologist of about thirty. His accent has perhaps a trace of Oxford where he did his graduate studies. Next to him is Margaret Thompson, a green-eyed beauty of the sort bred on the Philadelphia Main Line. She's perhaps twenty-eight, and there's something tough under her intensely feminine exterior. Two expensive cameras hang around her neck. MARGARET What a lovely evening. LOUIE Better enjoy it while you can. Squalls are expected later tonight. COPE How unfortunate! LOUIE In the tropics, Professor Cope, there is always a storm They pass by quickly. Louie takes a long, appreciative glance at Margaret. MARGARET In a minute, you'll be guilty of staring at me, Louie. LOUIE (unembarrassed) Singapore? (pause) Pearl Harbor? (pause) Manchuria! MARGARET So you think you know me. (laughing) Well, maybe you do. I've been all over. LOUIE What brings you both to the Marivellas. (to Cope) Perhaps you are on your honeymoon? MARGARET (laughing) I've only known Professor Cope for two days. Even _I_ don't work that fast. (proudly) I work for _Life Magazine_. I'm kind of a journalist with a camera. COPE Margaret can be quite persuasive. (beat) She thought there might be a story in the hunt for a plesiosaur, so she talked me into coming along. LOUIE A Plesiosaur? COPE I believe you natives know what may be a plesiosaur as Katarangura. INT. PILOT HOUSE -- NIGHT The Captain stares off into the darkness. There's the sound of something moving through the water. HELMSMAN Katarangura! CAPTAIN Baka! There is no Katarangura. HELMSMAN Him live on Mara Tiki. Sink ships come to close. CAPTAIN (angry) That kind of wild talk only scares the passengers. HELMSMAN Go way 'round Mara Tiki. CAPTAIN Steer your course, damn it. The captain again looks out to sea. We hear the blast of water and air he's heard before. A look of fear crosses the helmsman's face. EXT. FERRY -- UPPER DECK LOUIE …so you believe in the superstitions of ignorant fisherman. COPE Let's say I have an open mind. The plesiosaur -- any dinosaur -- is thought to be extinct. But every now and then a fisherman brave enough to try his luck near Mara Tiki sights something. Katarangura. Whatever. So perhaps these sea-going lizards have survived here in the Marivellas. MARGARET You see why I came along. This is the beast story since the sinking of the Titanic. INT. PILOT HOUSE -- NIGHT The Helmsman stares in at the water ahead of the ferry. A look of stark, absolute terror crosses his face. WHAT HE SEES The surface of the ocean is broken by something large and moving fast. Perhaps the Helmsman thinks he sees malevolent eyes. But whatever swims through the ocean lies on a collision course with the ferry. HELMSMAN'S VOICE Katarangura! BACK TO SCENE The Polynesian Helmsman spins the wheel hard left. The Captain rushes onto the bridge -- stares in disbelieving horror at what he sees. EXT. FERRY -- WATERLINE -- NIGHT This 'something' crashes into the ferry -- splintering the hull into kindling. The noise is terrifying. EXT. FERRY -- DECK -- NIGHT Margaret, Louise and Cope are violently thrown down. Margaret hits her head. Louie's the first of the three to stagger to his feet. There's panic and chaos, terrified passengers and crew dash about, strapping on life vests, carrying children. The deck is listing, metal and wood groaning and cracking under the strain of its destruction. The Captain makes a vain attempt to restore calm. CAPTAIN Be calm! Man the lifeboats! HELMSMAN No. Katarangura! COPE Katarangura. Louie grabs a small child and disappears with him into the chaos on board the ferry. EXT. SKY -- NIGHT -- LOW ANGLE -- (STOCK) The Goose flies above us, its engines droning in a slow, harmonious beat. A tropic moon hangs like a globe above its wing. We hear a radio broadcast of "Cherokee" that's increasingly interrupted by static. JAKE'S VOICE Some things are just so amazing you wonder if you'll ever think of anything so good -- like flying -- like flying at night under a full moon. INT. COCKPIT -- NIGHT Darkened except for the green tinge of the instrument lights and the cheery glow of the coal on Jake's cigar. Corky is lost in the music, sort of dancing in his seat. "Cherokee" comes to a big finish, followed by applause. CORKY Now that's hep! Jake stretches, tired but relaxed. JAKE Hep's the word. CLOSE ON JACK He looks up from his spot between the two seats and barks twice in agreement. BACK ON JAKE AND CORKY As Jake smiles at Jack. CORKY Boy, do I miss those bands…those great big bands. I could jitterbug my brains out right now. JAKE You do and it'll throw off my trim. CORKY You know what I mean…it's all goin' on back there, and we're here… JAKE (sighs) Here… Under this, the radio announcer has been saying: RADIO ANNOUNCER'S VOICE KGMB, Honolulu…and 'Hawaii Calling,' with more live dance music from the Monarch Room of the Royal Hawaiian Hotel… The band swings into a romantic version of "I Can't Get Started With You." CORKY Just sent away two bucks for the sheet music on "I Can't Get Started With You." JAKE (surprised) Not for Sarah to sing? CORKY Sure for Sarah. Who else? The Goose buffets in the wind. The radio transmission is momentarily interrupted by a massive blast of static. JAKE Must be a heck of a storm between here and Hawaii. CORKY Think we'll beat it back to Boragora? JAKE Yep. Jake opens up the throttle setting. Jack barks once. The music once again comes in loud and clear. As Jake listens to the music, we move in on his eyes. EXT. SKY -- NIGHT -- THE MOOM As if outside the plane, but we tilt down to discover couples in gowns and white tie slowly turning to the music which becomes real. A garden dance. Jake steps into view, wearing and Army Air Corps Lieutenant's uniform, alone, looking across the floor for someone. He spots who he's looking for and flashes a dazzling smile, holding out his hand. A girl comes toward him. She's a beauty, and obviously loves Jake. Jake takes her in his arms and dances her around the room. They are both very much in love and immensely happy. A haze of red going to black smears across our vision. CORKY'S VOICE Hey, Jake! See that? Jake? EXT. SKY -- NIGHT -- JAKE AND CORKY The red light from the flare bathes their faces. Jake snaps out of his reverie and slaps his hand to the throttles, sending the Goose into a bank toward the source of the flare. INTERCUT -- EXT. SKY -- NIGHT -- THE GOOSE -- (STOCK) As Jake drops the Goose toward the ocean below. CORKY I still can't see who's shooting those flares, Jake. JAKE Not from way up here. He hauls back on the yoke for a steep turn. CORKY (aghast) Jake, you're not going to set down at night?! Jack barks twice for 'yes' and heads for his spot aft. JAKE Well, maybe someone doesn't want to spend the night treading water. CORKY Yeah, me! JAKE (patiently) Just go aft and drop out a line of flares, will you, Corky? CORKY Sure, Jake. Corky unbuckles and heads aft, opening an emergency locker and removing a handful of flares. EXT. SEA -- NIGHT -- (STOCK) Another turn and Jake levels the goose for a landing. INT. GOOSE -- NIGHT -- BEHIND CORKY AND JAKE TO WINDOW Jake trims the plane for a landing, easing back the throttles. A line of flares stretches ahead and below them. Corky buckles into his seat. CORKY We don't even know what kind of sea is running, Jake! JAKE (grinning) Could be long and smooth. Or -- maybe some chop, or… CORKY Jake, if you don't know… kind pretend to know, like always. (beat) You know…because of Jack. Jack barks once for 'no'. Corky gives him a look. INTERCUT -- EXT. SEA -- NIGHT The Gooe lets down toward the floating flares, rocking and rollercoasting as Jake gets a fix on the surface, then drops into the water trailing long rooster tails. CORKY Jake, her nose could've gone in… JAKE Relax, Corky. We're down in one piece, aren't we. We hear Jack bark once for 'no.' Jake and Corky look back. ON JACK -- JAKE AND CORKY'S POINT OF VIEW Jack's just getting up from a sprawled position on top of some cargo. He give Jake a baleful, one-eyed glare. JAKE (continuing) We're gonna have to get you some kind of a seat belt. EXT. GOOSE -- CARGO HATCH -- NIGHT Jake and Corky lean out, listening, red in the light from the flares. The engines idles fitfully above. Somewhere in the dark -- above the sound of the freshening wind and the salt spume -- there's the explosive blast of air and water. JAKE Wind's pickin' up. CORKY (straining) Jake. Hear that? We now hear the muffled sound of oarlocks. VOICE Over here. Tout droit. Corky spots something in the darkness. CORKY'S POINT OF VIEW A huge shadow stirs in the water beyond the line of flares. CORKY'S VOICE Over there, Jake. I see somethin'. ANGLE PAST CORKY TO WATER A lifeboat looms out of the night from another spot than the shadow on the water. This confuses Corky but he throws them a line and pulls the boat in. The faces of the survivors are drawn and shaken, smeared with oil Among them are Margaret, Cope and the Captain. ON CAPTAIN standing to hold the boat to the Goose's pontoon. CAPTAIN You have been most daring to land under these conditions. The Captain turns and gives his hand to Margaret, who's been revived by the cold water. There's a nasty cut on her forehead, but she's otherwise unharmed. ANGLE ON JAKE as he reacts to the sight of Margaret as if he's seen a ghost. He speaks softly -- not quite believing. She's a dead ringer for the green-eyed girl in the flashback. JAKE Elizabeth. He reaches down from the hatch and lifts her into the Goose. JAKE (continuing) Elizabeth. MARGARET No. You're mistaken. I'm Margaret Thompson. Jake looks again His eyes (and perhaps his vain hopes) have played a dirty trick on him. He's disappointed. JAKE Well, can't win 'em all. BACK TO CORKY AT THE CARGO HATCH as he helps Cope into the Goose. Cope turns at the hatch and looks out intently at the shadows of the night. We again hear the blast of air and water. COPE It's out there! CORKY (spooked) Katarangura? COPE That, or something else. Jake joins Corky at the cargo hatch, addresses the Captain. JAKE How'd you go down? CAPTAIN We were rammed! JAKE You sure? Maybe you just ran afoul of a reef. CAPTAIN Not this far out! Whatever it was came right at us. There was no escape. CORKY How many more in the water? CAPTAIN Two Sisters of Mercy. A widow and her three children. And a Frenchman. MARGARET Louie -- somebody. He saved my life. JAKE Not Bon Chance Louie? COPE That's him. An odd name for a French Magistrate de Justice. CLOSE ON JAKE terribly worried and peering out into the night alive with strange shapes and unnatural sounds. CAPTAIN'S VOICE My crew's in no immediate danger. Our SOS was answered by the Koji Maru. She'll be here shortly. BACK TO SCENE JAKE I can take two more of your injured. We'll refuel on Boragora, and be back at first light to look for Louie and the others. Corky helps the injured Helmsman into the cargo hatch. INT. COCKPIT -- ACROSS JAKE AND CORKY -- NIGHT Jake cranks up the engines. The waves are running higher, the air is turbulent. Jake turns the Goose into the wind. Corky looks back into the rear cabin. INT. REAR CABIN -- CORKY'S POINT OF VIEW Margaret, huddled in a blanket, puts out her hand for Jack to come to her. Instead, he growls. CORKY'S VOICE Jack! (apologetically) Jack always does that, Miss. Jack barks once for 'no' and goes to his corner. BACK TO JAKE AND CORKY Jake looks back at Margaret, then peers into the darkness. He puts his full weight on the throttles. The Goose picks up speed. Corky begins a radio transmission. CORKY Goose to Boragora. Goose to Boragora. Come in, Boragora. Corky listens for a minute. The live air is booming with static and interference. EXT. GOOSE -- NIGHT The Goose plows through the waves, then lifts off. The plane hangs heavily for a moment, then wings aloft. EXT. BORAGORA -- STORM -- NIGHT -- (STOCK) The sudden tropical storm lashes the island. INT. LOUIE'S OFFICE -- NIGHT Sarah listens to Corky's message garbled by the storm. SARAH I'm having trouble reading you, Corky. There's an enormous blast of static. SARAH (continuing) Oh, damn this stupid storm anyway! EXT. MONKEY BAR -- VERANDA -- NIGHT A blast of lightning tears across the sky. Willie and Gushie look out at the storm. WILLIE …but why did the ferry go down? GUSHIE Who knows? Maybe Katarangura. The natives claim that every now and then he eats a ship. WILLIE Yes. Perhaps. (anxious to go) The injured will need care. There are blankets at my church. And medicines. I must go make ready. Willie turns up his collar and rushes toward his church. INT. WILLIE'S RADIO ROOM -- NIGHT Willie sits at the wireless transmitting while talking to himself in a steady mumble. He's still dripping wet from the storm. His entire manners informs us of the urgency of the message he's sending. WILLIE That fool. I can't believe…What can he be thinking of? Women and children. Mein Gott! EXT. CHURCH -- CROSS -- NIGHT A bolt of lightning strikes the cross. INT. CHURCH -- NIGHT Willie is knocked sideways out of his chair. The ruined wireless set smokes ominously. Willie staggers to his feet, shakes his from side to side. WILLIE (continuing) But what will become of Jake? EXT. SKY -- THE GOOSE -- NIGHT (STOCK) The Goose is battered by wind and rain. Lightning flashes all around. INT. COCKPIT - ON JAKE AND CORKY -- NIGHT Jake's hands grip the yoke. Corky's eyes are glued to the instrument panel. INSERT OF GAS GAUGE The needle hovers near empty. BACK TO SCENE CORKY Another half hour. Tops. Jake turns and looks into the rear cabin. INT. REAR CABIN -- JAKE'S POINT OF VIEW -- Margaret is still huddled under her blanket, looking a bit green around the gills. She does her best to find a smile for Jake and fails miserably. CORKY'S VOICE Jake! The moon! BACK TO JAKE AND CORKY Ahead of them the sky is clearing a bit. There's a slice of the moon peeking through the clouds. JAKE Let's go down and take a look. CORKY Jake, it's gotta be ceiling zero. JAKE Hey, maybe we'll get lucky. CORKY Yeah, maybe. The Goose bucks savagely. CORKY (continuing) We're doin' fine so far. Jake grins at him. Jack barks once for 'no.' EXT. GOOSE -- NIGHT dropping through the clouds. The wind and the rain have greatly diminished, but visibility to the ground to the ground is nil. INT. COCKPIT -- NIGHT Corky has his eyes glued to the instrument panel. CORKY Five hundred feet. INSERT OF ALTIMETER winding down fast. CORKY Four fifty. Four hundred. Three fifty. Jake. Three hundred. Two fifty. Jake! Two hundred. Jake pulls back on the yoke. The Goose stabilizes. CORKY (relieved) Two hundred. They have broken through the clouds. Boragora lies ahead. EXT. LAGOON -- DOCK -- NIGHT Sarah and Willie stand side by side looking out to sea. The storm is fast clearing. WILLIE It will be a miracle all right if Jake can land in these seas. Suddenly we hear the sound of the Goose's engines. The sky is illuminated with red flares which drop in a straight line into the distance. SARAH If anyone can do it, Jake can. Sarah says a silent prayer. INT. COCKPIT -- NIGHT Jake stares at the row of flares ahead of him. CORKY One hundred. (beat) Airspeed eighty knots. Jake! JAKE High and fast, Corky. High and fast. Just like that time in China. CORKY Right. (thinking) China was a P-38. Not the Goose. (worried) Fifty feet. Jake eases back on the throttles. INTERCUT -- THE LAGOON -- NIGHT -- STOCK as the Goose comes in high and fast. At the last possible moment -- as the Goose nears the end of the line of flares -- the engines are throttled down. The Goose lands heavily in the lagoon and bucks like a Brahman bull coming out of the starting gate. INT. REAR CABIN -- NIGHT Passengers and equipment are bounced around unmercifully. INT. COCKPIT -- NIGHT as Jake slowly releases his grip on the yoke. His face is covered with sweat. JAKE (grinning) Corky, what we just did -- can't be done. Jack barks twice for 'yes.' Corky looks a bit green. CORKY Jake, I didn't want to know that. EXT. DOCK -- NIGHT as the Goose taxies to the point where Sarah and Willie wait. The engines cut out. Corky steps out of the forward hatch and throws them the rope. Willie ties up the Goose. The cargo hatch opens. Cope helps one of the injured seamen onto the dock. The man collapses. Sarah kneels beside him. COPE He took in a lot of oil. Sarah looks up as Jake steps out of the Goose with Margaret cradled in his arms. JAKE (to Sarah) Any word? SARAH The Koji Mara picked up the others an hour ago. Still no sign of Louie. JAKE (softly) Damn. (to Corky) Corky, roust out a couple of the boys to help refuel the Goose. CORKY (injured) I can do it by myself, Jake. JAKE Sure. I knew that, Corky. MARGARET Hey, what are you trying to do, guess my weight? Jake reacts in surprise. He's half forgotten he has her in his arms. He puts her down gently, then takes a look at the cut on her forehead. He stands very close to her. She's aware of his touch. JAKE You were lucky. Cut's not deep. You'll be as good as new by tomorrow. MARGARET Thanks. (beat) You have a gentle touch -- for a man. Jake grins at her and prepares to bandage the cut. Gushie wheels up with a pot of steaming coffee and several mugs on a tray. He hands one to Margaret, who nods her thanks, and one to Jake. JAKE Thanks, Gushie Jake takes a deep gulp. Gushie hesitates, then asks. GUSHIE Does Louie stand a chance? JAKE Yep. GUSHIE A couple of sailors in the Monkey Bar were giving forty-to-one against. I threw 'em both out JAKE Forty-to-one? Louie'll like the odds. He always backs the long shot. ANGLE ON CORKY AND WILLIE as Corky fills the Goose's tanks by means of the hand pump and Willie tends one of the injured sailors. CORKY It musta been Katarangura for sure. That professor said that ferry just cracked in half -- then sank like a stone. WILLIE (unsettled) I can't imagine such a thing happening. It's terrible. A look of distress crosses Willie's face. BACK TO JAKE as Cope helps him load a rubber life raft into the Goose. JAKE I appreciate the offer to help, Professor, but I'd better say no. COPE Cutter, I've spent two years learning all there's to know about Mara Tiki. I have even made an exhaustive study of the currents around the island. JAKE Have you ever been there? COPE Not yet. The natives won't go near the place. That's why I need you. (the bait) Your friend Louie won't be in the water. JAKE I figure he'll wash up on one of Mara Tiki's Western beaches by dawn. Sarah comes over to the men and overhears the conversation. COPE Then, as you can see, I know what I'm talking about. You can make good use of Margaret and me, Cutter. We're experienced. JAKE Don't think so. MARGARET You'll need all the help you can get. And you won't get any better than the two of us. (persuasively) Think about it, Jake. He looks at Margaret in the flickering light. There's a FLASH CUT of Elizabeth. Then Margaret wraps a blanket more tightly around her shoulders. Jake can't seem to keep his eyes off her. JAKE (accepting) We leave at first light. Jake turns and almost knocks Sarah into the water. He looks at her for a beat. He knows what she wants. JAKE (continuing) Don't even ask. He attempts to walk past her. She stands in his way. SARAH Louie's my friend. (firmly) I have a right to go. EXT. GOOSE -- LOW ANGLE -- DAWN The Goose wings over the ocean toward Mara Tiki. JAKE'S VOICE Sometimes I have a hard time saying 'no.' I know I should, but then I hear myself saying, 'sure. Come along. The more the merrier.' Maybe I thought I could use the help. Maybe I just \ didn't' want to lose touch with Margaret. She did have those green eyes. You'd think I'd learn. INT. COCKPIT -- ON JAKE AND CORKY -- DAY Jake's at the controls. Corky looks down at the ocean. CORKY Jake, there's something down there…in the water. JAKE It's just the shadow of a cloud, Corky. CORKY You know, Jake, when we picked up those people out of the water, I could have sworn there was something out there in the dark. JAKE Corky, this is no time to start imagining sea monsters. There's no such thing as Katarangura. CORKY (getting weird) Sure, Jake. INT. REAR CABIN -- DAY Cope, Sarah and Margaret look out various windows. EXT. GOOSE -- DAY The Goose flies low over the island. The jungle appears almost impenetrable from the air. INT. COCKPIT -- ON JAKE AND CORKY -- DAY CORKY Jake, look! EXT. GOOSE -- DAY -- BEACH FLYOVER -- STOCK The Goose clears the jungle and wings over the beach on the far side of Mara Tiki. A deepwater river cuts inland nearby. On the beach, there's an arrow made of stones pointing inland. EXT. BEACH -- DAY The Goose, engines idling, coasts up to the beach. Jake and Corky are the first ones out of the hatch. Jack is right behind them. He tears off across the beach as Jake and Corky look around. JAKE (loudly) Louie! Louie! It's Cutter. CORKY Jake -- this is spooky. Jack comes away from the edge of the jungle with a lifejacket in his teeth. Jake and Corky move to him as the others step out of the hatch and onto the beach. JAKE The lifejacket's from the ferry. (beat) You know, Corky. You can only see that arrow from the air. Sarah comes up beside them and takes the jacket from Jake. Her hand touches something viscous. She pulls her hand away from the lifejacket. Fresh blood gleams brilliantly. Jake looks around him at the deserted beach. CORKY Jake, Louie was here. (beat) But where has he gone. JAKE And why? We hold on Jake's worried face. FADE TO BLACK END ACT ONE _ACT TWO_ FADE IN: EXT. JUNGLE -- DAY We are CLOSE UP on a machete blade cutting through a vine across an animal track leading into the jungle. We PULL BACK to REVEAL Jake hacking a trail. Margaret walks right behind him, looking around nervously. JAKE'S VOICE How come there's always a spider in the garden, a worm in the apple, and a snake in the grass. I had helped a beautiful girl out of a scrape, she was grateful, she was repaying the favor, so I should have known it meant trouble. ON THE OTHERS following Jake. Cope and Corky carry the raft between them. Sarah brings up the rear. Suddenly, Cope drops his end of the raft, falls to his knees. Corky stumbles against his end of the raft. Cope uses his hands to bring to light a half-covered rock. CORKY Hey, what's that, professor? Looks just like a rock. COPE Very observant of you, Corky. This happens to be a chunk of quite ordinary granite. CORKY Yeah, so why all the excitement? COPE (amused) Most of the islands in the Marivellas are volcanic in origin. They're no more than a few thousand years old. That's like yesterday in geologic time. SARAH We should be on our way, professor. COPE Of course, Sarah. So we shall be. Cope drops the rock and picks up his end of the raft. As they walk, he continues his lecture. COPE (continuing) This particular granite was formed in the early Pliocene. Which means that our little paradise is perhaps a hundred fifty million years old. Cope, in his excitement, has stopped in his tracks. SARAH Professor, do you think you could walk and talk at the same time. Cope smiles apologetically and walks on. COPE We find granite at Como Bluff in Wyoming. We find granite in the Gobi Desert of Mongolia. In fact, there's granite at all the great dinosaur boneyards. CORKY You really think there were dinosaurs here once? Or now? COPE Why else would I be here lugging this ridiculous raft? (excited) Last night something sunk that ferry. There may still be marine plesiosaurs living in these rivers. A tylosaurus, perhaps. CORKY Or Katarangura? COPE A rose by any other name. CORKY Huh? EXT. OCEAN -- DAY Open and empty. We hear the splashing of paddles and a war canoe drifts into the picture being paddles by five lovely native girls. Willie sits in the bow, mopping his forehead, a bit impatient with his paddlers who are scanning the waves with big eyes and trading apprehensive looks. They aren't paddling with much enthusiasm, talking among themselves. We hear the word "katarangura" pronounced in fear. WILLIE You need not be afraid, my children. Remember what happened to Jonah. NATIVE GIRL He got swallowed. WILLIE Well, yes, at first…But, then, the Lord protected…perhaps that's not the best lesson. Why don't we sing a hymn. That would be good. (singing lustily) "Onward Christian Soldiers." The native girls join in the singing. The war canoe picks up speed. Willie sings ever louder. EXT. JUNGLE TRAIL -- DAY Corky and Jake now haul the raft. Ahead of them, Cope expertly cuts the trail. Behind them, the women walk in silence. They don't seem to have much to say to each other. Instinctively, they sense their rivalry. CORKY You know, Jake. Maybe Louie didn't want to leave the beach. Maybe somethin' was chasin' him. JAKE Corky, dinosaurs died out millions and millions of years ago. CORKY Then what about Katarangura? JAKE Corky, don't start up with… CORKY …Katarangura. Well, the Professor believes in sea monsters. Only he calls 'em plesiosaurs… JAKE Amazing the stuff you do remember. CORKY The professor has letters after his name. That's good enough for me. JAKE Then we'll all just have to keep an eye out. Jack growls. JAKE (continuing) Sorry, Jack. Don't know what came over me. EXT. JUNGLE CLEARING -- DAY At first we see no one in this jungle clearing. A high granite cliff stands to one side. A waterfall crashes down from a great height into several deep pools. On the far edge of the jungle, something stirs. Louie emerges from the growth. He's tired, hungry, and a bit weather-beaten. Dried blood is caked on a cut on his left arm. He warily looks around the clearing, listening intently. In the distance, we hear the sound of something moving swiftly along the jungle trail. Louie starts in fear. He darts back into the jungle, tearing his shirt on a branch. EXT. JUNGLE TRAIL -- DAY The jungle is more and more oppressive. Strange sounds fill the air. Corky is a bit spooked. CORKY A beer sure'd taste good right about now. JAKE Soon as we get back to the Goose. CORKY If we get back. Jake and Corky walk into the clearing and stop in wonder. ON THE OTHERS walking into the clearing. We sense Cope's excitement as he takes a rock hammer from his pack. COPE (excited) The last time I saw anything like this I was digging at Morrison. ANGLE ON MARGARET AND SARAH as Margaret takes the lens cap off her camera and prepares to go to work photographing Cope at work. SARAH Don't you have anything better to do? MARGARET Not at the moment. Do you? SARAH I most certainly do. I want to find Louie! She turns her back on Margaret and walks away. CLOSE ON COPE finding the blood-stained collar of Louie's shirt on the trail leading from the far side of the clearing. Cope looks around furtively. No one has seen him. He hesitates, then places the piece of cloth in his pocket. He says nothing of his find. Jack barks loudly at Cope, but to no avail. ON CORKY AND SARAH drinking from the pool at the base of the cliff. Sarah uses her hands in ladylike fashion to scoop up water. Corky lies on the ground, sticks his head in the water and slurps. Sarah gives him a look. ON JAKE AND MARGARET Jake stands lost in thought. Margaret comes to him, offers him a drink of water from her hat. He takes a sip, then hands it back to her. His hand accidentally brushes hers. She's aware of the touch. Being with her does something to him. He looks deep into her eyes. He's just a little bit under her spell. He fights it. JAKE (finally) Thanks. MARGARET You don't have a lot to say, do you, Jake? JAKE Nope. Jake grins at her, then takes her in his confidence. JAKE (continuing) You know, there's something fishy about Louie's disappearing act. MARGARET Katarangura's a bit big for you to be calling him a fish. (off his look) Sorry. Bad joke. JAKE None of this adds up. Louie was strong enough to make it to shore. Why not just build a signal fire and wait for the cavalry to show up. MARGARET (hopefully) Maybe we should just go back to the beach and wait for Louie there. COPE'S VOICE Cutter! Over here! ON ALL running to the cliff. Hanging on a small plant sticking out from the cliff is the torn collar of Louie's shirt. Jake snags it, examines the manufacturer's label. JAKE (grinning) Who else on Mara Tiki buys his clothes in Paris? (looks up) Louie must have climbed the cliff. CORKY Maybe he wanted to get to the top, Jake. COPE An observation of pure genius. Jake takes another look up the cliff. WHAT HE SEES The way up the cliff is steep and a bit dangerous, but nothing beyond the skills of his troops. They can climb from rock to rock, and there are handholds where necessary. BACK TO JAKE taking a rope from his pack. He ties one end to the raft, the other is wrapped around his arm. JAKE Jack, you go with Corky. ON CORKY stuffing Jack into his backpack. CORKY You're not afraid of heights, are you, Jack? Jack barks once for 'no.' CORKY (continuing) Yeah, me neither. LONG SHOT OF JAKE Climbing the side of the cliff. After him, follow Cope, Margaret, Corky, then Sarah. JAKE'S VOICE I know something was wrong. I just didn't know what it was. But suddenly I had the feeling we were playing Blind Man's Bluff -- and I was _it_. ON JAKE halfway up the side of the cliff. He reaches for a handhold -- when SUDDENLY there's what sounds to Jake like thunder, and a flash of white. He almost loses his balance and falls. A white dove, disturbed in her nest, has just exploded into the sky. Jake stops to catch his breath, looks down. WHAT HE SEES The others in a line climbing up the cliff. BACK TO JAKE as Cope comes up beside him. COPE Rather an exhilarating climb. JAKE (a bit testy) We aren't over the top yet. COPE What could possibly go wrong. CLOSE ON SARAH as she works her way up the cliff. She stops to catch her breath, then puts her hand up to the next handhold. CLOSE ON A WASP'S NEST hanging on the cliff next to the handhold. Sarah's hand comes into view. A wasp stings her. She pulls back her hand, dislodging the nest. A swarm of angry wasps zoom out of the nest. BACK TO SARAH SARAH Oh, no. Oh, my god. No. (screams) Jake. Jake! Help! ON JAKE looking down. He loops one end of the rope around a boulder and rappels down the cliff toward Sarah. BACK TO SARAH surrounded by wasps. She swats at the swarm around her face, then frantically scrambles up the cliff. The wasps stay with her. SARAH Jake! ON JAKE coming down the side of the cliff. ON MARGARET Taking photographs of the action. Suddenly, she's stung. She puts away her camera and climbs quickly. ON SARAH flailing her arms wildly. She totters on the edge, looks down. WHAT SHE SEES certain death. BACK TO SARAH starting to fall. Jake swings into sight, puts a strong arm around her waist, pulls her to safety. He strips off his jacket. JAKE Put this on. Zip it over your face. Sarah does as he commands. Jake swats at the wasps. ON CORKY climbing the side of the cliff. The wasps pursue him vigorously. He pushes Jack's head into the backpack and zips it across so he'll be safe. CORKY I hate wasps! ON JAKE He has one arm around Sarah and uses his free hand to grasp the rope as he climbs the cliff. CLOSE ON JAKE'S FOOT slipping. BACK TO JAKE hanging over space. Sarah clings to him. He has only one hand on the rope to keep them from falling. JAKE Hang on! SARAH What else? CLOSE ON JAKE'S HAND covered with wasps. ON JAKE AND SARAH He swings her back to safety. They scramble up the side of the cliff. The wasps follow. ON COPE as Cope helps Corky to safety. Margaret stands beside him. Nearby a large boulder rests precariously near to the edge of the cliff. One shove and… BACK TO JAKE AND SARAH They rest for a moment in an indentation in the cliff face. The wasps have gone back to the nest. Sarah is snuggled in his arms, looking like the headless horseman. Jake unzips the jacket from over her face, then straightens a wisp of her hair. JAKE Almost dropped you. SARAH (softly) You did, didn't you. She kisses him impulsively, regrets it instantly. SARAH (continuing) Ouch! That hurts. She rubs the swelling on the side of her face. CLOSE ON MARGARET Close to the edge, looking down. One hand rests on the precariously-placed boulder. She leans her weight on the boulder to steady herself. Suddenly, it breaks loose. ON BOULDER bouncing down the cliff. An avalanche starts. ON JAKE AND SARAH pressed to the side of the cliff as the avalanche roars past like an express train. ON MARGARET MARGARET Oh, my god. What've I done? ON JAKE AND SARAH Jake looks up apprehensively, then down. WHAT HE SEES The avalanche has torn out the passage up the side of the cliff. JAKE No way to go but up. He and Sarah start to climb. LONG SHOT of Jake and Sarah as they come over the top of the cliff then stop and stare in wonder at WHAT THEY SEE (PAST THE OTHERS) They have discovered a giant boneyard. Scattered on the rocky plateau lie the bones of generations of dinosaurs. Giant femurs and rib cages and vertebrae lie everywhere. These are the fossilized remains of brontosaurus, tyrannosaurus rex, allosaurus, brachiosaurus, stegosaurus and protoceratops. BACK TO JAKE staring in wonder at this find. FADE TO BLACK _END ACT TWO_ _ACT THREE_ FADE IN EXT. CLIFF TOP -- day Corky hauls in the raft from the bottom of the cliff. Sarah applies baking soda to her stings, exposing a pretty expanse of leg. Margaret takes photographs of Cope excavating a giant jawbone. ON JAKE AND JACK watching Cope, disapprovingly. JAKE I don't like it. Jack barks twice for 'yes' as Cope comes over to them with the giant jawbone in hand. It must weigh forty pounds. COPE (excited) There must be all or part of one hundred fifty dinosaur fossils. There aren't even names for a hundred of them. JAKE (a bit sour) Is that right? COPE This is _diplodocus Carneigiei_. He was a huge Saurischian quadruped that died during Jurassic times. JAKE No. Really? COPE There's not a more perfect specimen in any museum in the world. JAKE Swell! COPE You do seem a bit dour, Cutter. JAKE Do I? Jake takes the jawbone from Cope and walks to the edge of the cliff. He holds the bone out over space and looks like he might drop it at any moment. COPE What's this all about, Cutter? JAKE Just wonderin' if it'll bounce when it hits the ground. ANGLE ON MARGARET AND SARAH MARGARET Why do I have the feeling there's going to be a fight? Margaret takes out her camera and focuses on the men. SARAH Perhaps it's your nose for news. BACK TO JAKE AND COPE Jake hangs the jawbone out over the edge of the cliff. COPE (aghast) You wouldn't dare. JAKE What's one _diplodocus_ more or less. (angry) Tell me about Louie's shirt, Cope. Cope hesitates, torn between his conflicting emotions: fear of exposure and love for his fossils. Love wins out. COPE I found the shirt at the far side on the clearing. On the trail leading to the river. JAKE I oughta throw _you_ over, Cope! Jake puts the jawbone down on the edge of the cliff. Cope comes over and retrieves it, keeping out of Jake's way as he does so. Corky drags the raft over the top of the cliff. CORKY Jake, what're we gonna do. The raft's up here and the river's down there. Only you can't get there from here. Jack emerges from the scrub on the far side of the bluff. He's clearly excited by something. He barks furiously, then takes off along an animal track. Jake stares after him. JAKE We'll follow Jack. COPE You can't be serious, Cutter. JAKE (hard) Unless you got a better idea. EXT. JUNGLE TRAIL -- LATE AFTERNOON There are several shots of the party making its way along the trail leading to the river: Jack proudly leads the way. Sarah and Margaret struggle along with the raft. Cope carries the jawbone. Corky cuts the occasional offending vine. JAKE'S VOICE Cope had cost us time we didn't have to lose. I was sore at the guy but I could see his point. For a paleontologist, finding a boneyard would be, well, like me going from playing Double-A ball with the Duluth Dukes to pitching the seventh game of the World Series in Yankee Stadium. The last shot of the montage finds us in EXT. CAMP - THAT NIGHT We START CLOSE on JACK as he eats his dinner from a tin plate. The ANGLE WIDENS to INCLUDE Jake as he gingerly attempts to sit down. He rubs his butt and decides to eat standing. Nearby, Margaret sits by the fire with her knees drawn up to her chin. Jake sneaks a look at her --- she's radiant in the firelight. She shudders, from more than cold. MARGARET I'm beginning to understand why the natives call this the Island Where No Man Walks. JAKE Thanks to the wasps, it's also the island where no man sits. Margaret smiles at him wanly. Something's on her mind. MARGARET Jake, I'm sorry about today. I almost got you and Sarah killed. JAKE (dismissing it) Missed us by a country mile. There's a terrible SHRIEK nearby in the jungle. MARGARET It's bad enough during the day, but at night! You can imagine all sorts of things. Jake looks at her for a beat. We know what he's imagining. We hear, softly at first, the haunting strains of "I Can't Get Started With You." EXT. GARDEN -- NIGHT We start on a flash of lightning. The camera pans down to reveal Jake dancing with Elizabeth. The night's turned cold. A sudden rainstorm soaks them to the skin. He embraces her. They are so terribly much in love. He bends down to kiss her. She breaks away from him and runs toward the nearby woods. EXT. WOODS -- NIGHT The mood has changed. The woods are dark and frightening. Jake catches a glimpse of her white dress ahead of him. SUDDENLY, we HEAR terrible SCREAMS -- an uncanny, primordial howl! EXT. CAMP -- NIGHT Jake, asleep under his flight jacket, sits bolt upright, his face soaked in sweat from the nightmare. However, the screams continue. He jumps to his feet, draws his Wetherby. Jake looks around camp. Margaret's gone! JAKE (to Sarah) Where's Margaret? Jake doesn't wait for an answer but bolts into the jungle. EXT. JUNGLE -- NIGHT Jake crashes through the jungle growth. The night's full of shadows and strange sounds. Jack stays right beside him. Jake stops, listens. Jack growls. A beast runs away from them in terror. The SCREAMS grow louder. Jake now trips over vines and stumbles against trees. His face is scratched. He's desperate to find Margaret. Suddenly, he stops. WHAT HE SEES ahead of him there's a terrible thrashing. Margaret's caught in the grip of something unseen and terrifying. BACK TO JAKE fighting his way through the vines. MARGARET Oh, god! Someone please help me! Jake comes to her side. She's fallen sideways into an inhospitable patch of jungle and tangled herself in vines. Her screams are those of terror and not dismemberment. He works to free her. There's a noise. MARGARET (continuing) Jake! Behind you. Jake whirls, fires his Wetherby into the shadows of the jungle. Suddenly, the night is still. Jake frees Margaret and takes her in his arms tenderly. She clings to him. Jack prowls and growls. JAKE Hey, it's gonna be okay. He holds her even tighter. He can't seem to help himself. MARGARET Oh, Jake. I'm so ashamed. What you must think of me. JAKE (high praise) You'll do. MARGARET I don't know what it is. But ever since I met you I don't know whether I'm coming or going. Please. Believe me. I'm not always this clumsy and stupid (seductively) It's something you do to me. Jake's heart leaps up! He looks right into her eyes. The attraction's strong between these two. He kisses her. She kisses him back. There may be a future in this. Jack _growls_. Jake breaks away from Margaret. JAKE Sorry. MARGARET Don't apologize. I liked it! (to Jack) And who asked you? JAKE (wryly) Just what am I _doing_ here? MARGARET Surely your mother told you. Jake stands, helps Margaret to her feet. She yelps in pain and leans all her weight on him. MARGARET (continuing) I must have sprained an ankle. They walk slowly toward camp. He's almost carrying her. MARGARET (continuing) One way or another, I seem to spend a lot of time in your arms. (softly) Jake, who was Elizabeth? JAKE Nobody. The girl next door. Kinda a homely thing. Braces. Freckles. MARGARET And she looks a lot like me. Thanks a lot. JAKE We were going to be married. Her father called it off. (bitterly) Seems I wasn't good enough. Margaret looks at him sympathetically. Suddenly, Corky and Sarah burst out of the jungle. Corky's pistol is drawn and wavers in his shaky hand. Jake gently pushes the barrel aside. He has no wish to be shot by his nervous friend. SARAH We heard shots. JAKE I was attacked by a tree. CORKY Jake, there's somethin' out there! JAKE You worry too much, Corky. CORKY (quite sensibly) One of us has to. JAKE (to Sarah) Want to lend a hand here? SARAH You seem to be doing just fine all by yourself. Sarah does, however, prop up Margaret on the side away from Jake. The walk out of the clearing with Jack leading the way and Corky covering their backsides. SARAH (to Margaret) Might I ask just what you were doing so far from the clearing? MARGARET Oh, you know. JAKE (embarrassed) Right. Margaret now throws herself on Jake's mercy. MARGARET Jake, I'm not sure I can go on. JAKE Camp's not far. Just hang on. MARGARET I don't mean just for tonight. (very small) Jake, I'm scared. I want you to take me back to the Goose. SARAH Oh, swell. EXT. CAMP -- NIGHT Cope examines Margaret's ankle. He's quite firm and thorough as he manipulates her leg. JAKE Hey, Cope. Take it easy. There's still a woman wrapped around that bone. COPE (to Margaret) You'll be dancing the jitterbug by tomorrow night. MARGARET How about a nice little fox trot instead. Cope goes about bandaging her leg. EXT. CAMP -- NEAR DAWN Jake stands solitary watch at the camp perimeter. Suddenly, there's an arm on his shoulder. He whirls to find Sarah, now as startled as he is. JAKE You might at least clear your throat or cough politely. SARAH Sorry. I couldn't sleep. Sarah sits close to Jake. They listen to the night. JAKE I've been playing this all wrong. SARAH You can say that again! JAKE I should never have let you and Margaret come along. This is no place for a woman. SARAH (with spirit) Now you just hold on for a minute, Jake Cutter. _I'm_ doing fine so far. It's not me who's starting avalanches and wandering off in the middle of the night and falling down and begging to go home. JAKE Margaret's no used to roughing it. SARAH Oh? Isn't this the same woman who flew around the world with Amelia Earhart. That same fearless journalist who climbed the Matterhorn with Klaus Killiam and came back with photographs to prove she made it to the top. (hard) Or maybe she's a phony. JAKE Oh, come on, Sarah. Maybe there's a reason you just don't know about. SARAH You're so close you can't see it. JAKE Aren't you being just a bit uncharitable? Or is that jealousy I hear? ANGLE ON JACK as he barks twice for 'yes.' BACK TO SCENE SARAH I don't know what gives either one of you that idea. She gets up and walks away -- mad. HIGH ANGLE SHOT OF THE RUBBER RAFT ON THE RIVER. Corky, Jake, Cope and Sarah propel the raft with improvised paddles. Margaret sits in the back and trails one hand in the water. Suddenly, she feels something nip one of her fingers, pulls her hand in. JAKE'S VOICE Ever try to stop thinking about something…or someone? It's like trying to stop gambling by going to the race track. Good luck. (beat) I hated to admit it, but Sarah was right. I didn't like what Margaret was doing to me. I should have been thinking about Louie. But all I could see were her green eyes. CLOSE ON CORKY looking around fearfully at the river. CORKY Jake, are you sure we couldn't just walk the rest of the way? JAKE Katarangura? Corky nods his head once for yes. ON ALL JAKE (continued) Corky, how many times! There's no katarangura. COPE Cutter, have you no imagination. These rivers are hundreds of feet deep -- perhaps more. Lined by granite. (beat) Almost anything might live down there. CORKY You see, Jake~ COPE (amused) I have, however, come prepared. I always carry a few sticks of dynamite. CORKY Hey, you're kiddin'? COPE No. You can never tell when it might come in handy. EXT. RIVER -- ANOTHER HIGH ANGLE SHOT -- DAY The war canoe is being propelled upriver by the girls. Willie now paddles alongside them. WILLIE Only a few more miles, my children. Air bubbles suddenly breach the surface of the river. We've heard this noise before. The girls look around. WHAT THEY SEE The water begins to boil. Great volumes of air froth a large section of the surface. The roar becomes deafening. All the girls begin to cry "Katarangura." BACK TO CANOE One of the girls stands and rocks the canoe dangerously. Willie holds on for dear life, afraid of being dumped into the water. The girls begin to furiously backpaddle. Willie's barely able to keep the canoe from overturning. ON THE MONSTER surfacing next to the war canoe. We recognize it as the classic-style U- Boat, type _VII_ (first manufactured in 1936). Water washes off the 20mm gun emplacement and the conning tower. FADE TO BLACK _END ACT THREE_ _ACT FOUR_ FADE IN: EXT. U-BOAT -- DAY two German sailors spring for the 20mm gun emplacement. Captain Hans Rieger steps on deck. The creases on his uniform are so sharp you can chop wood with them. RIEGER You came all the way from Boragora in that? WIDE SHOT ON BOTH CRAFT Willie looks down at the canoe. The Native Girls have calmed down, looking sullen but delightful in sarongs. WILLIE It may well be primitive but it odes have a certain charm. RIEGER Aren't you compromising yourself by coming here with these natives? WILLIE I have told them this is God's work. I tell them quite a few things are God's work. But I haven't come all this way to discuss my ministry. RIEGER I have already noted in my report to Berlin that you carelessly attempted to break radio silence two nights ago. WILLIE My wireless was destroyed in the storm. That's why I had to come. (urgently) We must speak. Privately. RIEGER I can't imagine what we have to discuss, Tenboom. But if we must… EXT. RIVER BANK -- DAY We are CLOSE UP on a gramaphone playing a 78 recording of _Tannhauser_. We PULL BACK to REVEAL the small camp set up for the Captain's comfort. There is a small table and one camp stool on which the Captain sits, drinking champagne that's conspicuously not offered to Willie. RIEGER But Herr Tenboom, I have _my_ orders. From the high command. WILLIE Surely Berlin didn't order the ramming of the ferry. There were women and children on board. (passionately) We Germans are not savages who make war against the innocent. RIEGER There is a charming native legend about a sea serpent who protects this island. This story keeps people away. So all I have chosen to do is add some credibility to the legend. WILLIE Mein Gott, Rieger! How can you be so callous. Two Sisters of Mercy were drowned. The Captain takes a delicate sip of champagne and stares at Willie coldly. RIEGER I am surprised at your childish outburst, 'reverend.' This is no time for false sentimentality. There is to be another total war. This time we must emerge victorious. We must use any and all means at our disposal -- no matter how distasteful -- to gain our ends. Willie takes a deep breath to control his anger at the Captain's callous attitude toward human suffering. WILLIE (huffing) Then I must request the use of your radio for an appeal to a higher authority. RIEGER By which I trust you mean the High Command, and not this tinpot god you pretend to serve. Unfortunately, I must disappoint you. I have orders to maintain radio silence. I intend to obey them. WILLIE (standing) I will report your actions to Berlin. Somehow. Captain Rieger rises. He's not in the least angry. He's far too Prussian and arrogant for that. RIEGER You must do as you think best. (mockingly) Heil Hitler, Herr Tenboom. WILLIE Heil Hitler, Captain. And thank you for your gracious hospitality. Willie turns his back and walks away to his girls who sit in the shade by the river. EXT. RIVER -- DAY Jake and Co. are also resting -- well-protected from the killing heat of midday in the jungle. EXT. RIVER CAMP -- DAY Rieger finishes his champagne. A subordinate winds up the Victrola. The Captain glances at the sun. RIEGER Why has this survivor not been brought to me? SKINNER He has proven quite elusive, sir. ANGLE ON JUNGLE Something stirs at the edge of the jungle. We see just a glimpse of Louie's face as he listens. RIEGER'S VOICE There are far too many people on this island. Those idiots from the seaplane. This 'reverend' and his flock. That elusive survivor. (irritated) I had hoped to leave them all alive. To kill them will only bring others to look for them and snoop around. BACK TO RIEGER RIEGER (continuing) But they are getting too close. (beat) I want them all shot. Even the dog. Then we shall find another ship to sink. BACK TO LOUIE as he disappears into the jungle. EXT. JUNGLE -- NEAR THE RIVER A German patrol runs through the jungle. These men, armed with carbines, are highly disciplined. EXT. JUNGLE -- AHEAD OF THE PATROL -- DAY Louie sprints down the jungle trail as fast as his legs will carry him. But he must stop to catch his breath. The exertion has opened the wound on his arm. He does what he can to stem the flow of blood, then runs on. EXT. RIVER -- DAY Jake and Co. paddle into the jaws of doom. EXT. JUNGLE -- DAY Louie is tiring fast. He's too weak to keep up the pace. So he leaves the trail and hides in the jungle. After a minute, the German patrol runs by. EXT. RIVER -- DAY We are CLOSE UP on Corky as he paddles manfully. He lifts his paddle out of the water to rest. We hear the sound of splintering wood. There's a hole the size of a nickel right through the paddle. CORKY Jake… JAKE I see it, Corky. Only now do we hear the report of the rifle shot. Then, we hear what sounds like a barrage. Slugs hit all around. JAKE Maybe we should have stayed on shore! Jack barks twice. They all backpaddle as quickly as possible, except Sarah, who fires her pistol. JAKE (continuing) Hold your fire! You can't hit anyone from here! SARAH Maybe you can't! She takes aim and fires again. ON THE SAILORS lined up along the riverbank and using the raft for target practice. A man falls dead into the water. BACK TO THE RAFT JAKE Not bad! SARAH For a woman. A bullet creases the raft. There's a soft POP! The raft deflates. Cope bails with his hat. Margaret gets hung up in her camera straps and dumps the camera overboard. EXT. RIVERBANK -- DAY Willie has pulled his canoe to shore above the fighting. WILLIE Mein Gott! EXT. RIVERBANK -- DAY The raft is almost underwater as the five of them jump out. JAKE (to Margaret) How's your leg? She takes a tentative step and falls over. Jake picks her up and throws her over his shoulder. JAKE Corky, keep 'em off our tail. CORKY Right. Jake, what's the plan? JAKE Damned if I know. We're making this up as we go along. Jake starts off down the trail with Margaret. Cope runs after him -- still carrying the jawbone. Sarah kneels, reloading her smoking pistol. CORKY Sarah, you'd better go with Jake. SARAH He has all the company he needs. Jack growls loudly. He's seen the enemy. Several sailors run into sight. Sarah kills the point man. His comrades retreat from sight. Suddenly, there's the sound of shots. Then the jungle falls quiet. Corky and Sarah wait and watch nervously. There's movement on the trail. Sarah raises her pistol, ready to kill. Suddenly, Jack runs up the trail. CORKY Jack, get back here! Sarah spots someone coming into sight on the trail. Her finger tightens on the trigger. And then she sees who it is! Louie. The Frenchman's following Jack down the trail. Sarah and Corky abandon caution and run to their friend. Louie has a smoking carbine in one hand. Sarah embraces him. SARAH Louie! Oh, thank God! We thought something had happened to you. LOUIE (wincing) Sarah -- the arm. SARAH Oh, sorry. Sarah pulls away and looks at his arm. CORKY Louie, what happened to all those sailors? LOUIE I shot them. (off their looks) I mastered the art of jungle warfare when I was in Malaysia. Sarah and Corky each take an arm. They follow Jake. EXT. JUNGLE TRAIL -- DAY Jake staggers under his burden, stops to catch his breath. Cope's also winded. The jawbone slows him down. Jake gently lowers Margaret to the ground, kneels over her. MARGARET Jake, whatever happens, there's something I want you to know. I think maybe I'm just a little bit in love with you. Jake looks at her. Margaret reaches into her pack, takes out her automatic. She shoves it right into his stomach, whispers her next command. MARGARET (continuing) So be a good guy and don't make me kill you. We'd both hate that. Jake freezes. There's a deadly glint in her eyes that has him frozen in place. Margaret takes his Wetherby from the holster, then gives him a shove, knocking him backwards. She stands on two good legs. There's not a sign of a limp. She turns to Cope, gun in hand. MARGARET For god's sake, Cope. Put down that ridiculous jawbone! He puts it down. Margaret looks back to Jake. MARGARET (continuing) Do try and not looks so surprised, Jake. JAKE When will I learn? You can't trust a woman with green eyes. COPE Margaret Thompson? MARGARET Drowned. (casually) In her bathtub. Jake turns as Corky and Sarah drag Louie into view. MARGARET (continuing) Careful, Jake. I wouldn't mind killing her even a little bit. (to others) There's been a slight change of plan. CORKY Didn't know we had a plan. MARGARET We are going to wait here until we can find someone to surrender to. Sarah and Louie and Corky stare at the pistol in her hand. Margaret's very much in control of the situation. MARGARET (continuing) So step away from Monsieur Louie, then lay down your arms. I will kill the first one who disobeys me. CORKY Jake, is she kiddin', or what? JAKE No joke, Corky. Do what she wants. Corky and Sarah put down their guns. Jake examines the wound on Louie's arm. JAKE (continuing) Been lookin' for you. LOUIE Sorry to have been so much trouble. CORKY What's goin' on here, Jake? LOUIE Perhaps I can answer that. (beat) We have known that Hitler is building submarines in contravention of the London Naval Treaty. What we did not know -- until now -- is that U-Boats had strayed so far from home. FAVORING JAKE JAKE (to Louie) They're building sub pens. LOUIE A month. Two months at the outside. SARAH (excited) A hidden sub base! You could refuel or repair any U-Boat within a thousand miles. MARGARET (hard) What a pity. That will cost you your life. CORKY Dames! (beat) What da ya know? She even looks just like the other one. ON JACK sneaking up behind Margaret. He leaps for her gun hand with his teeth. Jake makes a dive for her. Margaret pulls free of Jack and fires at Jake -- blowing a hole in his shirt. Jake wrestles her to the ground, disarms her. Cope pulls his jawbone to safety. Sarah dives for her pistol. ON JAKE AND MARGARET he has her pinned to the ground. They are face to face, as close as lovers in an embrace. MARGARET (softly) What did I tell you, Jake. I really did fall for you. I never miss. JAKE Neither do I. ON ALL Jake stands. Corky helps Louie to his feet. Cope picks up the jawbone. Sarah covers Margaret. SARAH Jake, what about Judas here? JAKE She comes with us. MARGARET Think about it, Jake. I'll only slow you down. COPE (dryly) That'll be nothing new. MARGARET Leave me here. I'll guarantee you enough time to reach the Goose. JAKE (amazed) Why do I still want to believe you? MARGARET Because otherwise you will have to kill me. Margaret turns her back and starts her walk out of camp. Jake raises his pistol. Sarah lowers hers. We hear the pistol cock. Jake's finger tightens on the trigger. Margaret hesitates. SARAH Jake, no! She hits his pistol aside. Margaret breaks for the jungle. JAKE (mad) I wasn't gonna kill her. I just wanted to call her bluff. SARAH Sorry. JAKE Let's get the hell out of here. EXT. JUNGLE TRAIL -- DAY Another German patrol is closing fast. EXT. CLEARING -- DAY Jake, Cope, Sarah, Louie, Jack and Corky run past the waterfall. Jake stops long enough to fire several shots into the line of wasps' nests along the cliff. JAKE That oughta set 'em dancing. Jake and Co. depart one side of the clearing. The German patrol runs in the other side. They encounter a wall of wasps. The men break ranks, retreat, dive into the water, and run for the cover of the jungle. EXT. BEACH -- DAY Jake's party breaks out of the jungle. ON THE GOOSE Two German soldiers stand guard. Jake shoots one off the wing. The other returns fire. ON COPE The bullet blows the fossil out of his hands. ON JAKE shooting the second soldier. JAKE Corky, you and Cope take Louie to the Goose. Then warm her up. Sarah and I'll cover you! Cope stares at Louie then at the jawbone. He shrugs, then leaves his fossil to help Louie. ON SARAH AND JAKE SARAH About time you remembered I was good for something. A slug kicks up sand. They dive for cover. ON THE JUNGLE The German patrol shoots at them. ON GOOSE Corky and Cope help Louie into the Goose. Corky climbs in after him. Cope sprints back toward the jawbone. INT. COCKPIT -- DAY Corky starts the engines. EXT. BEACH -- DAY Jake and Sarah blast away. SARAH I just hope you learned your lesson. JAKE You bet I did! Next time you stay home. SARAH You'd better be kidding. Jake grins at her, then they hear the sound of the engines. Sarah and Jake take off running across the sand to the Goose. Bullets hit all around them. Coming right at them is Cope. JAKE Cope, go back! Cope pays him no heed, runs past them. Jake heads for the Goose. So far, Cope is miraculously unharmed. EXT. GOOSE -- HATCH -- DAY Jake and Sarah turn as Cope sprints toward them, holding the jawbone as if it were made of glass. A bullet slams into him, but he keeps on running. He's dead on his feet. Jake pulls him into the Goose. INT. COCKPIT -- DAY Jake takes his seat and taxies the Goose away from shore. Slugs blast holes in the fuselage. EXT. GOOSE -- DAY as the Goose lifts off. The sailors run onto the beach and fire after it. INT. COCKPIT -- DAY Jake and Corky lean back in their seats. CORKY Now can we go home? JAKE Not quite yet. I kinda wanted to get a look at that U-Boat. Jake turns and looks into the rear cabin. INT. REAR CABIN -- JAKE'S POINT OF VIEW Louie is flopped in a seat. Sarah kneels over Cope. JAKE How's Cope? SARAH He didn't make it, Jake. The jawbone is still cradled in Cope's arms. EXT. RIVER -- DAY -- (STOCK) The Goose follows the river inland. EXT. SUBMARINE -- DAY Margaret and Rieger stand on the conning tower deck. RIEGER They will be dead by now. MARGARET Yes. I rather imagine so. (sincerely) A pity. They look up in fright as they hear the scream of the Goose's engines at full throttle. The Goose comes careening toward them not twenty feet off the water. Sailors run for the 20mm anti-aircraft gun. The Goose zooms overhead. The 20mm opens fire. INT. COCKPIT -- PAST JAKE TO LOUIE AND SARAH Several shots rip through the cockpit. CORKY Hey, Jake. Didya see? Wasn't that her? JAKE (very bitter) Yeah, that was her. LOUIE Jake, that submarine must not be allowed to leave the island. JAKE Louie, this is a seaplane, not a bomber. LOUIE Then we must find a way. (urgently) The captain is going to ram another ship tonight. SARAH All we can do is radio Boragora. CORKY Jake, the radio! They all look. The radio is blown to shreds. SARAH (pluckily) Too bad we don't have a few twenty pounders. CLOSE ON JAKE JAKE Sarah, Cope's pack! CORKY Dynamite. Jack barks twice for yes and goes to his place. EXT. GOOSE -- DAY The Goose is in a nearly vertical right bank. INT. REAR CABIN -- DAY Corky holds several sticks of dynamite in his hands. He almost drops one, makes a spectacular catch, and grins at Louie, who rolls his eyes. JAKE Wrap five or six sticks in a bundle. Use electrical tape. Two fuses. (to Louie) We can cripple the U-Boat -- give the French Navy time to ask the Captain a few embarrassing questions. Jake looks ahead of him at the river. WHAT HE SEES The submarine has disappeared. BACK TO SCENE JAKE (talking fast) The U-Boat's running for the open sea -- submerged. Corky drops the dynamite into the river -- the force of the explosion will be concentrated on the hull. Kinda like a depth charge. SARAH What about the fuse? JAKE The fuse'll burn underwater. (beat) I hope. EXT. GOOSE -- OVER THE RIVER -- DAY -- (STOCK) The Goose flies scant feet above the surface of the river. INT. COCKPIT -- DAY Sarah sits in Corky's seat acting as spotter. SARAH There she is! WHAT THEY SEE The sub running under the surface of the river. BACK TO SCENE Jake pulls back on the yoke. The Goose gains altitude, Jake puts her in to a hard left bank. CLOSE OF JAKE'S EYES There's a quick MONTAGE of the following shots: Jake and Elizabeth dancing; Margaret on the dock at Boragora; Jake kissing Elizabeth; Jake kissing Margaret. BACK TO SCENE JAKE (softly) Margaret. SARAH Margaret Thompson was killed in Hawaii, Jake. We don't know who that woman is. We never will. We only know that if that sub reaches the ocean, more innocent people will die. Jake fights with himself. He knows what must be done, but… LOUIE Sarah's right, Jake. There's nothing else we can do. That Captain has declared war against the civilized world. JAKE (deciding) Open the cargo hatch, Corky. We go on five. (counting) One elephant. Two elephant. EXT. GOOSE -- DAY as Corky opens the cargo hatch. The wind tears at him. He's smoking one of Jake's cigarillos. Corky uses the coal to light the fuse. Louie watches in stark terror as Corky then fumbles with the dynamite. CORKY …four elephant. Five elephant. Corky tosses out the dynamite. INT. CONNING TOWER -- DAY Margaret stands next to Captain Rieger -- who's peering at the Goose through the periscope. MARGARET …but I assure you Captain, there's nothing to be afraid of. Jake Cutter's in love with me. We're safe. There's a loud EXPLOSION. Margaret's knocked sideways. Rieger slaps up the handles on the periscope. RIEGER Full speed ahead. Take evasive action. The claxon sounds battle stations. INT. COCKPIT -- DAY Jake puts the Goose into a hard turn. JAKE One elephant too many. INT. REAR CABIN -- DAY Corky and Sarah tie up another bundle of dynamite. EXT. GOOSE -- DAY -- (STOCK) The Goose is perhaps a hundred feet above the river. INT. REAR CABIN -- DAY JAKE'S VOICE …four elephant. Five elephant! Corky tosses the dynamite out the cargo hatch. INT. CONNING TOWER -- DAY There's a tremendous explosion. A sheet of water knocks Margaret against the bulkhead. EXT. RIVERBANK -- DAY Willie and his flock stare in wonder as the huge blast of river water explodes into the sky. Willie steps from the cover of the jungle and pronounces his benediction. WILLIE He who lives by the sword shall perish by the sword. He looks up at the Goose disappearing into the distance. He draws to attention and snaps a perfect salute to Jake. INT. COCKPIT -- DAY On Jake. His face is tense, drawn. He hates what he's done. SARAH I'm sorry, Jake. JAKE Yeah. So am I. (beat) Let's go home. It's been a long day. EXT. GOOSE -- DAY -- (STOCK) The Goose wings into the sunset. FADE TO BLACK _END ACT FOUR_ _TAG_ FADE IN: INT. MONKEY BAR -- NIGHT Jake sits alone at a table, lost in thought and beer. Sarah sings "I Can't Get Started With You." Afterwards, she walks hesitantly over to Jake's table. SARAH Whoever she may have been, Jake, she was a soldier. She just didn't wear the uniform. She chose to fight. She knew the risks. Louie joins them -- his arm in a sling. LOUIE You did a noble thing, Jake. For France…for the world. Jakes takes a sip of beer. He has nothing to say. Sarah and Louie exchange glances, then leave as Corky comes over. JAKE (to Gushie) Two beers. CORKY I could use a beer. You don't need any more. JAKE (to Gushie) Better make it _one_ beer. CORKY Jake, sometimes I don't know what you'd do without me to take care of you. JAKE Me neither, Corky. Me neither. CORKY You know, Jake. I never really believed in that Katarangura. JAKE Oh, there are monsters, Corky. Only they're inside us, waiting to get loose. Corky gives him a look. Jake finishes his last sip of beer. FADE TO BLACK _ THE END_
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