_ACT ONE_ FADE IN EXTERIOR CAIRO - NIGHT - ESTABLISHING - STOCK Over a moonlit shot from the period, we super: CAIRO 1937. EXTERIOR FOREIGN ENCLAVE - NIGHT Set back from the dust of the palm-lined street are a number of white stucco homes inhabited by Americans and Europeans living in Cairo. We isolate on a house with a brass plaque on the gate bearing the name "Dr. White." A single light shows through an open balcony window on the second floor. INTERIOR UPSTAIRS DEN The room is littered with dusty relics recently removed from an Egyptian tomb. There are a number of other relics on display that have been collected on previous expeditions. The walls are lined with leather- bound books. A large ornate trunk with hieroglyphics, its lid up, is sitting before the balcony window. As we pan the room, we hear the scratch of a pen on paper and eventually reveal.... DR. WHITE A distinguished white-haired man with reading glasses in his fifties, seated behind a large wood desk making entries in a notebook. His coat is off revealing colorful suspenders. The desk top is cluttered with fragments from his current dig, including a statuette of the Egyptian Jackal God, Anubis. He puffs thoughtfully on a distinctive briar pipe as he reads the inscription on the base of the statuette with a magnifying glass. DR. WHITE (to himself) He who seeks the tomb of the Pharaoh Ka, seeks death. At that moment, the wind blows through the open balcony window and the lid of the trunk slams shut. Dr. White jumps with a start, then smiles. DR. WHITE (to statuette) If you're going to curse me, Ka, you'll have to do better than that. MOVING WITH DR. WHITE as he stands, removes his glasses and carries the statuette to the trunk. He opens the lid and places the Jackal God inside. As he closes the lid, we hear the sound of the door opening behind him. DR. WHITE Don't tell me you're home already, Sarah? I thought Ted would.... As he turns with a smile, he freezes. His eyes widen in fear. DR. WHITE'S POINT OF VIEW - ANUBIS The full figure of the Dog God standing in the doorway, a stone dagger in its hand. CUT TO EXTERIOR STREET BELOW - NIGHT A dusty Cairo cab pulls up before the house and Ted Harrison exits. He's in his late twenties and wears horn-rimmed glasses that somewhat disguise his dark, handsome features. His deferential mannerisms are equally belying. There's a sneeze from inside the cab. TED God bless you. Sarah steps out of the cab. SARAH (through stuffy nose) Sorry. (beat) I got a nose full of dust exploring that tomb today with Dad and can't stop sneezing. TED (concerned) Are you sure that's all it is? SARAH Ted. Don't start with that silly curse again. Dad doesn't believe in it. I don't believe in it.... She sneezes. TED God bless. SARAH (finishing) ...and neither do you. Now go back to the party and enjoy yourself. TED I'd better go home. (off her look) Your dad will be hiring a new assistant if I don't start cataloguing what we unearthed in Nakht's tomb this week. Sarah laughs and leans in to give him a kiss. He turns it into a rather passionate one which Sarah breaks to sneeze. SARAH (wiping her nose) Sorry. (smiles) I'll see you at the dig tomorrow. TED (worried) Sarah.... SARAH (moving to door) Tomorrow! We hold on Ted as Sarah enters the house. Ted lingers a moment, his face concerned. CUT TO INTERIOR UPSTAIRS DEN The door swings open and Sarah comes in, blowing her nose. SARAH Daddy, it's time you were.... She screams. SARAH'S POINT OF VIEW - ANUBIS bent over Dr. White's body which is draped across the ornate trunk, a stone knife protruding from his chest. ON ALL - FEATURE SARAH She is frozen for a moment as the Anubis slowly straightens up, then she's into action. She races to the desk and throws open a drawer, pulling a pistol. The Anubis backs a step toward the open window. Sarah fires and the Anubis springs backward over the balcony. Sarah drops the gun and runs to her father's side, taking him in her arms. SARAH Daddy! Oh God, Daddy! DR. WHITE (dying) Sarah...notebook...don't.... He dies in her arms. As she begins to wail, we hear footsteps running up the stairs. TED'S VOICE (calling) Sarah! Doctor White! ANOTHER ANGLE Ted races into the room and is stunned. TED Good Lord! SARAH (crying) He killed him! He killed my daddy! TED (at her side) Who? SARAH (sobbing) The Anubis. TED Anubis? SARAH (explaining) Someone dressed like an Anubis...with a jackal head and... (looks up) ...you had to see him. I shot him! He fell off the balcony! TED Sarah, I heard a shot...but no one fell off the balcony. SARAH (through tears) What are you talking about! Ted just looks at her. She rushes onto the balcony and looks down. SARAH'S POINT OF VIEW - MOONLIT COURTYARD It is empty. CLOSE ON SARAH as Ted takes her in his arms. TED You've had a terrible shock, Sarah.... SARAH No! I shot him! I killed him! I know I did! Ted holds her, his face pained with sadness...but he says nothing. DISSOLVE TO EXTERIOR GOOSE - NIGHT as she flies above a dark and moonless South Pacific Ocean. Super: One Year Later INTERIOR GOOSE - COCKPIT Jake and Corky are both lit by the red light of the instrument panel. Corky is struggling with some figures and a navigator's compass...he looks worried. JAKE'S VOICE OVER There's an old saying that flying is ninety-nine percent boredom and one percent sheer, stark terror. (beat) We weren't into the terror percentile yet, but we were edging towards it. CORKY (nervous) Jake, I can't figure what's wrong with the instruments. They've gone plumb loco. At that moment they hit a slight air pocket. REAR CABIN A large burlap-covered object shifts slightly as the Goose bounces in the rough air. COCKPIT - FEATURE JAKE He turns his head and growls toward the rear cabin. CORKY Something wrong, Jack? Jack barks twice. CORKY (nervous) That means yes, Jake. Two barks is yes and one.... JAKE (cutting in) Corky...can you tell how much gas we've got left? CORKY Not by this gauge. THEIR POINT OF VIEW - INSTRUMENT PANEL The dials are bouncing all over the place. BACK ON ALL as Corky goes back to his plotting. JAKE Do you have any idea where we're at? CORKY Sure, Jake. (beat) Any minute now we should be sighting...the Golden Gate Bridge. Jake gives Corky a sidelong look but Corky just keeps figuring. JAKE'S VOICE OVER One of the things I admire about Corky is that even in a tight situation he never loses his sense of humor. Or at least I hope that was his sense of humor. CORKY (looks up) Jake, if the headwind hasn't eased up, we won't have enough gas to make it home...or anywhere else. Jake thinks about it a bit, then.... JAKE Okay, see if you can lighten us, that'll stretch the gas. CORKY (unstrapping) I'll start with that heavy crate? Jack barks twice for yes. JAKE (to Jack) I'll tell Sarah you said that, it's addressed to her. REAR CABIN The Goose bounces in the rough air and the burlap-covered object slides to the rear of the plane. COCKPIT - INSTRUMENTS They stop vibrating and settle down. ACROSS JAKE AND CORKY as they watch the instruments settle down. JAKE Corky! The gas gauge just went up and everything else is working, too. Corky shakes his head in bewilderment. CORKY (figuring) Now, if I knew where we were, I could figure a heading home. Jake kills the instrument lights and looks forward toward the night sky. JAKE'S POINT OF VIEW - STARS The constellation Orion showing brightly in the night sky. JAKE'S VOICE There's Orion. And that's Rigel...I'd say we're a hundred miles southeast of Boragora. A heading of 290 ought to get us there by sunrise. BACK INSIDE THE COCKPIT as Jake turns up the lights and swings the Goose to a new heading. CORKY See Jack, I told you we didn't have anything to worry about. CLOSE ON JACK He looks to the rear. JACK'S POINT OF VIEW - THE BURLAP OBJECT ominously sitting in the rear of the plane. DISSOLVE TO EXTERIOR PACIFIC SUNRISE - STOCK A shot straight out of a South Seas travelogue. THE GOOSE as she flashes out of the morning sun and settles to a perfect landing in Boragora's lagoon. EXTERIOR DOCK - DAY The Goose taxis up to the dock and Corky jumps out of the front hatch and onto the deck to tie the Goose down. Jack and Jake follow. CORKY (working) Jake, it's not natural for all the instruments to go screwy like that. One or two of 'em, maybe, but not all of 'em. JAKE Maybe that storm we flew through last night had something to do with it. CORKY Whatever it was, I'm gonna make sure it doesn't happen again if it takes all day to do it! Jake yells to a couple of fishermen on the pier. JAKE Mano...Philippe! I got some cargo that needs to be carried to the Monkey Bar. MANO Two beers worth? JAKE (smiles) It's pretty heavy. I think it's a three-beer crate. CORKY Jake, could you ask Louie to send me down a couple of...ah...of.... JAKE (warning) Corky.... CORKY (innocently) ...eggs and some toast. JAKE (sheepishly) Sorry. Corky nods and ducks back into the hatch. INTERIOR GOOSE COCKPIT - CLOSE ON CORKY as he works his way back. CORKY (to himself) And a beer. CUT TO INTERIOR MONKEY BAR - DAY - CLOSE ON A BEER as it slides down the bar. We widen to reveal one of the two fishermen who hauled in the trunk catching it. SARAH'S VOICE Gosh...what do you suppose it is? We continue to widen to reveal.... SARAH, JAKE AND LOUIE staring at the burlap-covered box sitting in the middle of the Monkey Bar next to the piano. The Clipper isn't in so the only people in the bar are locals. JAKE (drinking a beer) You tell me...it's yours. Picked it up on Tagataya. SARAH Mine! JAKE It's addressed to Miss Sarah Stickney White. That's you, isn't it? SARAH I know! It must be from my Aunt Harriet. I asked her to send me some dresses. JAKE Three hundred pounds of dresses? LOUIE (joking) If they're not French, I'll have to charge you duty. CLOSE ON CRATE The burlap falls away, revealing Dr. White's trunk -- the one he was murdered on. The blood stains still visible on the lid. ON ALL - FEATURE SARAH Jake and Louie react, they've never seen anything quite like it. Sarah is horrified. SARAH No! No! She backs away from the trunk and into the table where the regulars are playing cards, spilling some of their beers. JAKE Sarah, what's wrong? SARAH Take it away, please...Jake...please, get rid of it. Now! Please! Louie motions to Mano and Philippe. LOUIE Where would you like it taken? SARAH Anywhere. The farther from Boragora the better. Mano and Philippe pick up the trunk. JAKE Take it back to the Goose. SARAH That's it. Take it out and drop it overboard...to the bottom of the ocean! She turns and hurries out of the bar. On Jake's and Louie's bewildered reactions, we.... CUT TO EXTERIOR DOCK - NIGHT - FEATURE TRUNK The full moon illuminates the dock. The trunk sits next to the Goose, eerily lighted by the shimmering reflection of the moonlight on the water. There's a light on inside the Goose. JAKE AND JACK as the approach the Goose and Jake walks over to the trunk. Jack sniffs at it. JAKE Corky, you still at it? CORKY (sticks his head out) Yeah. It's terrible. Just terrible. (beat) Everything's working perfectly. JAKE (smiles) That's terrible? CORKY It sure is. How can I fix something if nothing's broke? Jake smiles, then drops it as he stares at the trunk. Corky comes out of the hatch wiping his hands. CORKY How's Sarah? JAKE She's calmed down. Louie gave her the night off and she went to bed. (beat) I've never seen her as terrified as when she saw this trunk. CORKY It gives me the heebee jeebies. JAKE Somebody went to a lot of trouble and expense to ship it to her. You'd think she'd at least be curious to see what's in it. Jake tries the clasp. It doesn't open. CORKY You're not going to open it, are you? JAKE If Sarah's afraid of this trunk, there has to be a reason. And we're not going to be able to help her unless we know what it is. CORKY (nervous) It looks Egyptian. Maybe it's got a curse on it like King Tut's tomb. JAKE I don't believe in curses Corky...at least not that kind. CORKY (nervous) Maybe we should wait 'til mornin.' When there's more light. JAKE There's plenty of light. Jake bends down and removes the pieces of wood that hold the ancient iron clasps shut. JAKE Give me a hand. Corky and Jake slowly open the trunk. A cloud of dry, Egyptian dust rises from the inside of the disturbed trunk, enveloping Jake and Corky. They cough and step back. They peer into the trunk as they wait for the dust to settle. CLOSE ON TRUNK As the dust settles, the first object begins to be visible...a human skull, embedded with colored stones that shine in the moonlight. ON ALL Jack barks once and jumps away. CORKY Is that thing for real? JAKE I think so, Corky. Jake reaches into the trunk to see what else is in it. Some of the artifacts are lying loose, while others are wrapped in protective wrappings. CORKY No wonder this trunk spooked Sarah. It sure spooks me. Jack barks twice. JAKE It must have belonged to Sarah's father. He was an archaeologist. Corky reaches into the trunk for the first time, pulling out a long, narrow object wrapped in cloth. CORKY How old is this stuff? JAKE Hundreds, maybe thousands of years old. Maybe more. Jake examines the small idol of Anubis. CORKY That looks like Jack. Jack barks once. JAKE It's Anubis, the Dog God. He led the dead in Egypt to judgment. CORKY They worshipped dogs? JAKE Yeah. They even mummified them, too. Corky and Jake look at the long, cloth-wrapped object Corky is holding. Well, it could be a dog. Jack slinks off. Corky puts the object back in the trunk and pulls out some more plain relics. Jake takes out a plain, pyramid-shaped stone. As he examines it.... CORKY Jake...why would she want to throw her father's stuff away. CLOSE ON JAKE as he examines the unique stone. JAKE I dunno, Corky. I dunno. No sooner does Jake finish his words than a gust of wind comes up, stirring the dust of the trunk again. A squall is coming up and the wind blows the dust inland. EXTERIOR MONKEY BAR HOTEL - NIGHT Camera follows the cloud of dust as it is blown up the outside stairs of the hotel towards Sarah's room. INTERIOR SARAH'S ROOM - NIGHT Sarah's sleep is becoming increasingly disturbed as she begins to toss and turn in her bed. CLOSE ON SARAH as she struggles to awaken from a nightmare. Suddenly she wakes and lies on her bed gasping for breath. Not yet fully awake, she raises herself up a little to look around the room. HER POINT OF VIEW - THE TRUNK In the center of the room, aa nightmarish, misty vision...her father's lifeless body, sprawled across the trunk, drenched in his own blood, the stone knife in his chest. Anubis standing over him. CLOSE ON SARAH She gasps and quickly covers her eyes with her hand. In a moment, she removes her hand and opens her eyes, but keeps her gaze averted. Slowly, she looks up. HER POINT OF VIEW - THE VISION is gone. ANGLE ON SARAH She begins to calm down then smells something...something familiar, the smoke from her father's pipe. EXTERIOR VERANDA - NIGHT - FEATURE SARAH as she opens the door and steps out on the veranda: HER POINT OF VIEW - FIGURE A shadowy figure stands at the end of the veranda smoking a pipe. Then a flash of lightning reveals it to be Sarah's father, dressed as we last saw him, without his coat. He removes the pipe from his mouth. DR. WHITE (softly) Sarah...be careful, darling. Be careful. CLOSE ON SARAH She rushes forward. SARAH Daddy! But when she gets to the end of the veranda, no one is there. We hold on her as she shivers and cries softly. SARAH (softly) Oh...Daddy. FADE OUT _END OF ACT ONE_ _ACT TWO_ FADE IN EXTERIOR BORAGORA - DAY - ESTABLISHING - STOCK The storm has passed and although the morning sunshine is warm and bright, Sarah's voice is cold. SARAH'S VOICE I'll never forget the sight of Dad lying on that trunk... EXTERIOR MONKEY BAR VERANDA - DAY Mostly locals waiting for the Clipper to arrive. We isolate on Sarah and Jake at a table having breakfast. SARAH (continuing) ...the Anubis standing over him. (beat) I shot it...or whatever was in the mask. JAKE He was never identified? SARAH (softly) His body was never found. JAKE Maybe you missed. SARAH (pointed) I never miss. Off screen we hear the roar of the Clipper's engines. People begin to flood out of the bar toward the dock. EXTERIOR CLIPPER - STOCK as it comes in for a landing. EXTERIOR MONKEY BAR VERANDA - ON CORKY as he and Jack come out with the others. CORKY Clipper's in! JAKE You and Jack see if there's anything for us. CORKY Sure, Jake. (beat) Come on, Jack. Betcha a beer the first one off the Clipper today is...ah...Chinese! Jack barks once. ON JAKE AND SARAH Jake watches Corky and Jack go, then turns back to Sarah. JAKE Why would anyone dress like a Dog God to murder your father? SARAH Dad was seeking the tomb of the Pharaoh Ka. There are many cults in Egypt that still believe in the old gods. I think it was a ritualistic murder...to keep the curse of the Pharaohs alive. JAKE And they never found this Ka's tomb? SARAH Last I hear from Dad's assistant, Ted, they'd found nothing. (beat) That's why I took the assignment here in the Marivellas. JAKE (nods) To get as far away from Egypt as possible. SARAH Dad thought Ka's tomb might be here. JAKE (doubting) Here? SARAH (defensive) That's the same kind of response Dad got from all those stuffy old conservatives sitting in their stuffy old chairs resting on their stuffy old laurels! JAKE (hands up) Okay. Okay. (beat) Why here? SARAH During Ka's reign, tombs in the Valley of the Kings were already being violated. According to hieroglyphics, Ka didn't trust the Valley and built his secret tomb across the water. JAKE On the other side of the Nile? SARAH That's what other archaeologists thought. But Dad believed he meant... (motions with her hands) ...really across the water, somewhere in the South Pacific. Before he was murdered, Dad narrowed it down to the Marivellas. JAKE Sounds pretty farfetched. (off her look) But possible. (beat) But who sent the trunk? SARAH I don't know! I sent it back to the Smithsonian. They sponsored Dad and I thought they should have it. She gets up and begins to pace. SARAH Just being around it gives me nightmares. JAKE (watching her carefully) Nightmares? SARAH (softly) Last night...I woke during the storm and imagined I saw the trunk, just as I did, with my father's body over it...and...and Anubis standing over him. Jake moves to her, taking her in his arms. JAKE Sarah...that's understandable.... SARAH (going on) Then, I smelled my daddy's pipe. I got up and went out on the veranda and...and he was there. (begins to cry) Standing at the end of the veranda, looking so sad. He...he told me to be careful. Jake holds Sarah close to him and lets her cry. TED'S VOICE (softly, bit embarrassed) Sarah? ANOTHER ANGLE as Sarah spins to see Ted standing there with Corky and Jack as the other passengers file into the Monkey Bar. Ted is wearing a rumpled suit and carries a suitcase and briefcase. SARAH Ted! She races from Jake's arms to Ted's. Throwing her arms around him and giving him a big kiss which astounds Jake and Corky. FEATURE JAKE as Corky joins him on the veranda. Corky feels guilty for bringing Ted to Sarah. CORKY I...ah...he said he was an old friend. JAKE Looks like it. ON SARAH AND TED as they part and he holds her at arms' length. TED You look swell! SARAH So do you! What are you doing here? TED Came to see you. He glances up at Jake. Sarah turns. SARAH Oh, Ted. This is a friend, Jake Cutter. Jake, this was my father's assistant, Ted Harrison. The two men shake hands with forced smiles. JAKE I guess you sent the trunk. TED It's arrived? SARAH (shocked) You sent it? TED (nods) I had the Smithsonian ship it the minute I found your father's notebook. Ted opens his briefcase, takes out a leather-bound notebook and hands it to Sarah. Corky peeks at it over Sarah's shoulder. CORKY It's in some sort of code. SARAH All of Dad's notebooks were written in code. It was a game between us. TED That's why I brought it to you. I haven't been able to break it. JAKE (pointed) But why did you send the trunk? TED (doesn't like Jake's nosing) It's here...on the very first page. He points to the first page. CLOSE ON BOOK There is a crude sketch of the trunk. BACK ON ALL Sarah looks at the sketch and shudders slightly. TED Sarah...the trunk is the key. I'm sure of it! It could lead us to Ka's tomb, prove your father's theory. SARAH I don't ever want to see that trunk again. TED But Sarah.... SARAH Please, Ted. Don't you understand? All I can see is Dad's body and...that...that...Anubis standing over him! She turns and runs into the Monkey Bar. Ted starts after her but Jake grabs him by the arm. JAKE Mr. Harrison. Now's not the time. Ted looks at Jake's hand holding his coat sleeve and Jake releases it. TED Mr. Cutter, you are obviously a friend of Sarah's. However, that doesn't make this any of your business. JAKE Fair enough. But is it yours? TED Seeing how I'm her fiance, I'd say yes. Jake blinks. He's too stunned to reply. Ted turns and hurries into the bar after Sarah. We hold on Jake, Jack and Corky. CORKY Can I buy you a beer, Jake? JAKE (still a bit dazed) Yeah, sure. DISSOLVE TO EXTERIOR SARAH'S ROOM - NIGHT - TO ESTABLISH The lights are burning late in Sarah's room. JAKE'S VOICE OVER If you think I was surprised to find that Sarah had a fiance, you should have seen my face when he talked her into opening that trunk. (beat) She never gave in to me that easily. INTERIOR SARAH'S ROOM - NIGHT Relics from the trunk are scattered around the room. Sarah and Ted are pouring over her father's notebook. Jake compares the hieroglyphics on the trunk to the ones in Sarah's books while Corky examines the skull from the trunk. Sarah, frustrated, leans back from her desk. JAKE'S VOICE OVER Maybe I was a touch jealous, but I was also worried. Sarah's father had been murdered for what he knew and now she was trying to uncover what that was by decoding the notebook. (beat) I didn't like it. SARAH It's no use. I can't break the code without the cipher key and nothing in the trunk seems to be it. CORKY Maybe it's not in the trunk. TED (impatient) It has to be! The trunk's in the notebook. JAKE (calmly) Maybe Corky's right. What if the key isn't what's in the trunk, but the trunk itself. Jake looks closely at the trunk. JAKE What do these hieroglyphics mean? CLOSE ON TRUNK The carvings show a picture of the sphinx. Under it are pictures of a baby crawling, a man standing, and an old man leaning on a cane. BACK ON ALL looking at the trunk. SARAH It's the riddle of the sphinx. What walks on four legs in the morning, two legs at noon, and three legs in the evening? CORKY I don't know, but I don't wanna meet it! JAKE It's a man, Corky. He crawls on all fours as a baby, walks on two legs as a man, and when he's old, he uses a cane. CORKY Hey, that's pretty sharp. Who thought that up, Burns and Allen? TED (impatiently) Herodotus wrote that three thousand years ago. The sphinx asked all travelers to guess the answer to the riddle, and if they guessed wrongly, she devoured them. Sarah is figuring harder than ever. CORKY That's terrible. SARAH It's wonderful! CORKY Being eaten alive is wonderful? SARAH No, four-two-three. It's the cipher key. First you jump ahead four letters, then two letters, then three. Look! She holds the book for them to see. CLOSE ON BOOK Above the first three words in the notebook, Sarah has written: CONGRATULATIONS, SARAH - DAD. BACK ON ALL as Sarah gives Corky a hug and a kiss. SARAH Corky, you're a genius! JAKE (smiling) What about me? Sarah gives Jake a kiss. SARAH You too! Then she grabs the notebook and begins to decode the message from her father. Jake is smiling, until he sees Ted staring coldly at him. DISSOLVE TO LATER - FEATURE SARAH as she reads her father's notes to the others. SARAH The location of Ka's tomb has something to do with a pyramid-shaped stone in the trunk. JAKE (rummaging around) I was looking at that earlier! Something about it is familiar. He pulls it out and examines it. SARAH There's nothing on it but dots. TED Don't tell me it's another code! JAKE (slowly) In a way. CORKY You know what it is, don't you, Jake? Jack barks twice. JAKE It's a map! These aren't dots, they're stars! The same stars we use to navigate here in the Marivellas. (pointing) That's Orion...and this is Rigel. SARAH Can you tell where they lead? JAKE Not until I check my maps. But I'd say roughly somewhere in the Northern Marivellas in the Japanese mandate. CORKY Oh! Oh! Jack barks twice. TED What's wrong? We're not at war with Japan. CORKY Tell the Japanese that. If you enter their air space they shoot first and apologize later. JAKE Since we have to follow the stars at least we'll be going in under the cover of night. TED You mean you'll fly me there? JAKE No. I'll fly you and Sarah there. TED He just said it would be dangerous. SARAH Why should that leave me out? TED Sarah...you're a woman! Sarah turns about three shades of red. SARAH That, Mr. Theodore Harrison, is why we never got married! TED (bit red-faced) I'll get my tools and equipment. As he storms out, Jake suppresses a grin. JAKE Ah, come on, Corky, it'll take an hour to fuel and check out the Goose. CORKY Jake, don't you remember what happened the last time we took the Goose into the Japanese mandate? Even I remember that! JAKE Corky.... CORKY I'm goin'. I'm goin'. Come on Jack. Betcha beer we get shot at tonight. Jack barks twice. They exit, leaving Jake and Sarah alone. JAKE Your fiance is right, you know. SARAH (dander up) He's not my fiance. JAKE That's not what he said. SARAH (backpeddling) Well, I guess we never officially broke it off. JAKE Oh.... He turns to leave. SARAH (quickly) Jake... (beat) Does it matter? JAKE (it does) Ah...no, I guess not. Then he's gone and Sarah could kill him. Instead, she sits back at her desk and continues deciphering the book. DISSOLVE TO EXTERIOR DOCK - NIGHT - ON CORKY As he hand pumps fuel into the engines. Jack growls softly and Corky looks up. Willie walks into the light. WILLIE I don't understand why Jack doesn't like me. CORKY I don't either. Maybe he's a Buddhist. WILLIE (laughs) Jah. That's possible. Jake comes out from the plane carrying some maps, which he spreads on the workbench under the light. JAKE Evening, Reverend. You're up late. WILLIE Well, I gave an early blessing to a new convert, a lovely little... (catches himself) ...you're flying tonight? JAKE (glances at Corky) Yeah, we're going back to Tagataya. WILLIE Tagataya. (looks to Jack) Is that right, Jack? Jack hesitates, then barks twice. Even Jake is surprised that Jack lied. WILLIE Well then, go with God's blessings. CORKY We'll need it. (off Willie's look) I mean in case a storm comes up...or somethin'. Willie stares at them a beat, then turns and walks back down the dock. They both turn to Jack. He just stares at them. JAKE Well, I'll be. CUT TO INTERIOR SARAH'S ROOM - NIGHT She appears worried as she deciphers another sentence. CLOSE ON BOOK Sarah writes the words above her father's words in the notebook: "HE WHO SEEKS THE TOMB OF THE PHARAOH KA, SEEKS DEATH." BACK TO SARAH increasingly distressed as she translates. The room lights flicker, then die. SARAH Not again. When will Louie ever fix that generator? Sarah lights a match, then walks to her dresser where she keeps a candle. She lights it and turns to see her door open slowly. SARAH'S POINT OF VIEW - FIGURE IN THE DOORWAY It is a man, outlined against the moonlight. DR. WHITE'S GHOST (whisper) Don't go, Sarah. Don't anger the Anubis. Stay away from the tomb of Ka. BACK ON SARAH She moves slowly forward with the candle. It's flickering light barely illuminates the figure in the door. She can see it's her father, dressed in the white suit this time without the pipe. He backs around the corner. DR. WHITE'S GHOST (whisper) Don't go...please don't go. SARAH Daddy.... EXTERIOR UPPER BALCONY OF THE MONKEY BAR as Sarah comes out with the candle. There is no one there. She runs along the balcony, the candle blowing out, to the stairway. No one is there. She retraces her steps slowly, towards her room. SARAH (starting to cry softly) Daddy...please come back. There is nothing but the sound of the trade winds blowing in the palms. INTERIOR SARAH'S ROOM She backs in the door and relights the candle. As she turns, she screams. SARAH'S POINT OF VIEW - THE ANUBIS standing in her room, the stone knife in its hand. FADE OUT _END OF ACT TWO_ _ACT THREE_ FADE IN EXTERIOR BORAGORA DOCK - NIGHT - ON CORKY as he lights a kerosene lamp hanging from the workshed roof. CORKY Bet Gushie forgot to fill the tank on the generator again. Jack barks once and scoots off toward the Monkey Bar. Jake watches him a beat, then starts towards the bar himself. JAKE Keep an eye on the Goose. CORKY Why? JAKE (yells back) I dunno. Just do it; I'm gonna check on Sarah. We hold on Corky. He looks a little nervous. The wind blows and the dock creaks. He licks his lips and begins to whistle to keep up his courage. EXTERIOR MONKEY BAR - NIGHT The lights flicker and come on to the cheers of the patrons standing on the porch. As they file back inside the bar, Gushie wheels around the corner and up to Louie. Jake comes trotting up in time to hear.... GUSHIE The fuel tank was empty. LOUIE (reprimand) Gushie.... GUSHIE I filled it this morning, I swear. (beat) Someone must have drained it. Jack barks twice and takes off up the staircase. JAKE (alarmed) Sarah! Jake and Louie follow Jack up the stairs to the second floor. We hold on Gushie who wheels to the steps before he realizes he can't follow. GUSHIE (frustrated) What this dump needs is an elevator. INTERIOR SARAH'S ROOM - NIGHT Jack races through the open door followed by Jake and Louie, who freeze for a beat before crossing to the bed where Ted has placed Sarah. He looks scared and is soaking wet. Louie immediately checks Sarah's pulse. TED I...I found her on the floor. LOUIE (rising) She has a pulse. (exits and yells) Gushie! My medical kit! Jake kneels down and strokes her head as Louie comes back inside to examine her. TED I didn't find any marks on her. JAKE (to Ted) How'd you get soaked? TED (wiping his glasses) I fell in the lagoon. (off Jake's look) The lights went out just as I stepped onto the dock. I lost my...what the hell difference does it make! What's wrong with Sarah? LOUIE She's clammy and cold. I'd say she's in shock. Gushie wheels in with the medicine kit. LOUIE What took you so long? GUSHIE There's no elevator. Louie flashes Gushie a look, then removes a vial and waves it under Sarah's nose. She coughs, gags and comes around. SARAH (eyes suddenly wide) The Anubis! LOUIE Easy, Sarah. Easy. She looks around frantic for a beat, then focuses on them and relaxes a bit. SARAH It was here...in my room. JAKE An Anubis? SARAH Yes. I...my father and then the lights went out...no, first the lights went out then my father.... JAKE Sarah. Take it slow. SARAH (deep breath) The lights went out. I was lighting a candle and when I turned...my father was standing in the doorway. He told me not to seek Ka's tomb. I...I ran after him but he disappeared and when I came back into the room, the Anubis was here... (points) Standing there. I guess I...fainted. LOUIE You have been under a tremendous strain. SARAH I didn't hallucinate it! TED Not this time. (off their look) I saw it, too. SARAH Then, I didn't imagine it! TED No, darling. It was here. JAKE It? You mean he. Ted is silent. LOUIE Why would anyone dress up like an Egyptian Dog God to frighten Sarah? JAKE Maybe Ted can answer that. SARAH Jake! TED It's all right, Sarah, your friend thinks I'm involved. JAKE Aren't you? None of this happened until you and that trunk showed up. TED Think what you like, Mr. Cutter. I saw an Anubis on the veranda...followed it to the lagoon...even into the water, which is how I really got wet. LOUIE Well, then, what happened to it? TED It disappeared. JAKE (lighting sarcastically a cigarillo) Of course. TED (furious) You calling me a liar? JAKE (looks up) Yep. Ted throws a right which Jake neatly ducks. JAKE I don't hit someone with glasses. TED (flicking off his glasses) This better? JAKE Yeah. And he clips him with a right that knocks Ted through Sarah's door and onto the porch. ANGLE ON SARAH, LOUIE AND GUSHIE as Jake moves onto the veranda after Ted. SARAH (frantic) Louie...do something! LOUIE (after a beat) Fifty francs on Jake. GUSHIE You're faded. Sarah is furious with them and tries to get up, but Louie has to support her as.... ON THE FIGHT Ted knocks Jake back through the door and into the dresser. As he comes charging in, Jake catches him with two neat punches and sends him flying back out. As the fight continues.... ON SARAH She pulls out her suitcase and without revealing what's in it to Louie and Gushie, removes the small automatic. ON JAKE AND TED as they come grappling back into the room. Suddenly a shot is fired and they both look up in surprise. ON SARAH The smoking automatic in her hand. SARAH Enough! If you two want to spend the night beating each other to a pulp, do it somewhere else! Then she collapses in Louie's arms. It's enough to stop the fight. As Louie helps Sarah onto the bed.... LOUIE Which of you three want to tell me what this is all about? They look at each other, no one speaks. Finally.... JAKE Louie...you don't want to know. LOUIE Oh but I do. As Magistrate de Justice.... JAKE (cuts in) You'd have to...ah, interfere. And I really wish you wouldn't. LOUIE I would? Sarah nods. LOUIE (continuing) Well, in that case, come on, Gushie, we'd better check the bar. Stock has a funny way of disappearing when the lights go out. (to Sarah) I suggest a warm bath and a good night's sleep. (off her look) If you can't do that, take this ammonia capsule if you decide to faint again. He hands it to Sarah and exits. ANOTHER ANGLE The two men look warily at each other. Then.... TED I take it you're still flying me to that Japanese island. SARAH Us. TED (a plea) Good Lord, Sarah, you heard the doctor! SARAH Louie's not a doctor. TED Then listen to the spirit of your father or the warning of the Anubis. SARAH I'm going and that's that! JAKE Why don't you want her to go, Ted? Ted turns and stares at Jake a beat, then puts his arm around Sarah. TED Because I believe in the curse of the Pharaohs, and that she is in great danger, but most of all because I happen to love her. Sarah looks to Jake for some sort of equal statement. CLOSE ON JAKE He'd like to say he loves her, but can't. He turns to leave. JAKE If we don't take off in the next half hour, we'll lose the stars. ANGLE ON ALL - FEATURE TED AND SARAH as Jake exits, Ted turns to Sarah and kisses her gently on the forehead. We move in close to her face, she is terribly disappointed in Jake. CUT TO EXTERIOR GOOSE - NIGHT - STOCK She cuts a gentle sway through the star-filled Pacific sky. INTERIOR GOOSE COCKPIT - FEATURE JAKE Corky is half asleep and they're both bathed in the red light of the instrument panel. JAKE'S VOICE OVER Funny how there are times when you want to say what you feel and just can't. I don't know if it's pride or stubbornness or just being scared of committing. He looks back towards the rear cabin. JAKE'S POINT OF VIEW - REAR CABIN Sarah and Ted are sitting across from each other. Ted sees Jake's glance and reaches across the aisle for Sarah's hand. She gives it to him, but her eyes tells us how she really feels. JAKE'S VOICE OVER Whatever it is, I wasn't very happy with myself at the moment...and neither was Sarah. BACK ON JAKE AND CORKY Jake turns back and fidgets with his cigarillo. He kills the instrument lights and peers out at the stars. JAKE (to Corky) Corky...go back and get that stone for me. It's in my pack. CORKY (looking out) What for? You already figured Iwa Kona is the island it points to. JAKE Corky, would you do as I ask? CORKY (getting up) Sure, Jake. Sure. REAR CABIN - MOVING WITH CORKY CORKY 'Scuse me. COCKPIT - ON JAKE flying along with a slight smile on his face. After a beat, Corky reenters with the stone and hands it to Jake. Jake flips the instrument lights back on and checks the stone. Suddenly, Corky's eyes widen. CORKY Jake! Look at the instruments! INSERT - INSTRUMENT PANEL The gauges are oscillating widely. BACK ON BOTH as they stare at the instruments. CORKY According to them we're under water. And flying backwards! Jake looks at the stone and hands it to Corky. JAKE Take this back to the tail. CORKY Huh? JAKE Just do as I say. Corky shrugs and gets up. REAR CABIN - MOVING WITH CORKY as he has to break through the clasped hands again. Sarah is beginning to smile, she thinks Jake is doing it again just to break them up. Ted doesn't think it's funny. CORKY 'Scuse me. CLOSE ON JAKE He's studying the instruments. JAKE'S POINT OF VIEW - INSTRUMENT PANEL They settle down to normal. JAKE'S VOICE Well, I'll be.... Jack barks twice. BACK ON JAKE He leans towards the rear cabin. JAKE (yells) Corky. Come back up here and bring that stone with you. MOVING WITH CORKY as he works his way back up front, breaking the hands again. CORKY I sure wish he'd make up his mind. (beat) 'Scuse me. Sarah is having a hard time controlling her laughter...and pleasure. COCKPIT - FEATURE JAKE as Corky reenters the cockpit. JAKE (excited) Corky...it's the stone. It's magnetized...a lodestone. Every time you bring it forward the instruments go crazy. Corky looks at the stone and then at the instrument panel. CORKY I'll be darned. You were sending me back and forth to test it. JAKE Yeah. CORKY I thought you were doing it cause you didn't like them holding hands. CLOSE ON JACK He barks twice. CLOSE ON JAKE He eyes Jack and looks back forward, ostensibly to look for the island, but he's actually embarrassed. JAKE Sun's rising. Better keep your eyes peeled for Zekes. CORKY (looking out) Sure, Jake. DISSOLVE TO SERIES OF SHOTS - ON THE GOOSE - ESTABLISHING - STOCK flying low as we transition from night to dawn. INTERIOR GOOSE COCKPIT - FEATURE JAKE Corky is like a swivel-necked owl scanning the sky for the Japanese air patrols. Sarah pops her head between the two of them. SARAH It's light out. JAKE You come up here just to tell me that? SARAH (softly) No, I thought it was kinda cute, the way you had Corky.... JAKE (cuts her off) Iwa Kona dead ahead. THEIR POINT OF VIEW - TROPICAL ISLAND set between a couple of others, low on the horizon. BACK ON COCKPIT as Ted squeezes in beside Sarah. JAKE What now? TED If Ka's tomb is on the island, it'll be in a pyramid. JAKE How old? TED It would have been erected over four thousand years ago. CORKY Gee, that's pretty old! JAKE It'll be completely overgrown by the jungle. SARAH Maybe we could spot it if we flew higher. I remember once with my dad flying over Indiana, we could pick out burial mounds that looked like hills from the ground. CORKY That's true, Jake...remember that time we spotted those ruins in...in...ah.... JAKE Peru. CORKY Peru! You could only see 'em from the air. JAKE We didn't have Japanese air patrols to worry about in Peru. CORKY That's true. Jack barks twice. JAKE (mind made up) I'll make one pass over the island...low. Most of these islands are inhabited. If we can find a village and the natives are friendly, maybe they can tell us where to look. TED What's the chances of them being friendly? JAKE (casual) Not bad...about half and half. (off Ted's look) Better strap in, Mr. Harrison. EXTERIOR SMALL ISLAND FISHING VILLAGE - DAY It's a typical South Seas island settlement with thatched huts lining the shore and dugout canoes on the beach. But the natives don't appear to be quite Polynesian, more a mixture with definite Egyptian features. Their clothing is also a strange mixture of island and Egyptian. They look up from their daily chores with a start as the Goose roars in from the sea and zooms over them. ON THE GOOSE as it turns overhead and lets down for the lagoon. BACK ON THE VILLAGE A chief steps out of one of the huts wearing a white robe and carrying a staff. On the head of it is a replica of Anubis. ON THE GOOSE as it touches down in the lagoon, kicking up a rooster tail of spray. ON THE SHORE The natives gather as the Goose taxis up and Corky pops out of the forward hatch. He says, "Greetings, we come as friends," in various languages. CORKY Makou n hoaloha. Holas, somos amigos. Allos, nous sommes amis. The natives and the others just stare at him. The warriors are gathering, carrying spears. CORKY (continuing; calling back) Ah...Jake. I think this is the unfriendly half. COCKPIT - ACROSS JAKE as he cuts the engines and heads for the nose. JAKE (to Sarah and Ted) You two stay here until I size this up. Just as he's about to duck under the cockpit panel: JAKE Did you see it? Sarah looks. SARAH It's got an Anubis head! EXTERIOR GOOSE HATCH as Jake pops up beside Corky, smiling. JAKE They don't speak any island tongues? CORKY Or Spanish or French or English or...or...ah.... JAKE German? CORKY I don't speak German. Jake smiles and drops onto the beach. He holds his hand out in a universal sign language greeting. JAKE (smiles) Aloha. The chief says something in a strange tongue. CHIEF Patey iref chew. (Who are you?) Patey marartek? (What do you want?) The warriors begin to close in on Jake and Corky. Jake slips his hand to his pistol and smiles. JAKE (through smiling teeth) Ease back inside, Corky. Corky takes a step back. ON JACK as he comes popping out of the hatch and onto the sand beside Jake and Corky. He has his hackles up and is growling in their defense. WIDER ON SCENE At the sight of Jack, the natives drop their spears and prostrate themselves, including the chief. Sarah comes out of the hatch and joins our heroes on the beach. CORKY What's happening? JAKE I...don't think they've ever seen a dog before. SARAH (joining them) They think Jack's a god! CLOSE ON JACK He adopts a regal pose and barks twice. JAKE'S VOICE So does Jack. BACK ON ALL as the natives are all flat on the ground before Jack. SARAH They won't speak or move until his head is higher than theirs. Jake looks at her, then picks Jack up. Sure enough, the natives raise up somewhat and are able to speak. The chief says something in the strange tongue. CHIEF Patey marartek? (What do you want?) CORKY Jake. I don't remember ever hearing anything like that. SARAH That's because it hasn't been spoken in a couple of thousand years. (beat) It's ancient Egyptian. TED'S VOICE Anidj harak. Greetings. Anak ham natjr ni aman aria. (slur last two words) (I am a high priest of Amon-Ra.) Our group turns to see.... CLOSE ON ANUBIS (TED) as he wades through the water from the cockpit exit. FADE OUT _END OF ACT THREE_ _ACT FOUR_ FADE IN EXTERIOR JUNGLE PATH - DAY A flock of colorful birds explode into the leafy jungle canopy as the native chief appears on the trail, followed by a half-dozen armed warriors escorting Jake and Corky, who are disarmed but not tied. (Note: All arms, spears, swords, knives and bows should be Egyptian in origin.) CORKY (nervous) Jake...ah...I've been thinking. If they were gonna kill us, they'd have done it at the beach...right? JAKE (reassuring) Makes sense. Corky nods, relieved, then.... CORKY Jake. You wouldn't be saying that just to make me feel good, would you? JAKE Would I do something like that? CORKY Yeah. JAKE (changing subject) I'm worried about Sarah. CORKY He wouldn't hurt her...even if he is looney tunes. (beat) Would he? JAKE Let's hope not. As they push on through the jungle.... CUT TO INTERIOR NATIVE HUT - DAY - SARAH She is being dressed in a long white robe by two handmaidens with Egyptian combs. She looks a bit frightened. Ted enters, still wearing the Dog God head. TED Kha lia iraq gaay win. (Go out so we can be alone.) The two attendants exit. For a moment nothing is said, then.... SARAH (angry) Take that stupid mask off! Ted stares a her a beat longer, then removes the mask. SARAH You posed as my father last night, too, didn't you? TED (nods; moving to her) Sarah, I didn't want to see you hurt. SARAH (laugh) Oh, you didn't want to hurt me so you tried to frighten me to death! TED I couldn't explain. You wouldn't understand. SARAH Try me. Ted paces, eyeing her a bit like a little boy. TED I joined the priests of Amon-Ra as a boy. SARAH You're an American! TED My mother was Egyptian or did you forget. SARAH (softer) No. Just that.... TED What. Because she spoke perfect English and played tennis, she's not Egyptian. (beat) You're just like your father. Sarah stops and turns, the realization hitting her. SARAH Oh, God, you killed him, didn't you! No...you couldn't have. You were with me...but the Anubis was one of your cult, wasn't he? TED Sarah, your father was about to tell the world of his discovery. It would have been like the opening of Tut's tomb! A spectacle. A circus! The tomb of Ka is the tomb of a God of Egypt! Would you open the crypt of Christ if he were in it and put it on display! SARAH (furious) You murderer. She attacks him, pounding at his chest. He holds her off. TED Sarah...I warned you not to seek the tomb of Ka. But perhaps I was wrong. (off her look) We can be wed in the old way. You will live her with me...a priestess...a priestess of Amon-Ra. A protectress of the tomb of Ka. She stops struggling and through the tears makes a decision. She takes a deep breath. SARAH What about Jake and Corky and Jack? TED Jack is a living god. He will be pampered and revered the rest of his days. SARAH And Jake and Corky? He slowly puts his dog mask back on. On Sarah's look, we.... CUT TO EXTERIOR JUNGLE CLEARING - DAY Jake and Corky, led by the priest, emerge from the jungle and stop in the middle of the clearing. They look straight ahead in awe. JAKE Corky. It's true! THEIR POINT OF VIEW - THE PYRAMID Although completely overgrown by the jungle, it's triangular shape is instantly identifiable. Steps have been cleared in the center, leading a quarter of the way up the pyramid to a huge stone door. ON THE GROUP as the chief leads them up the steps. At the door, he motions for them to sit and with the warriors standing guard over them, they wait. Jake glances around and nudges Corky. Corky looks to see.... SMALL CAPLESS PYRAMID set in a stone next to the door. JAKE'S VOICE What do you bet our stone star map fits on top of that. ON JAKE AND CORKY looking at the mini-pyramid. CORKY You're right! (beat) But why? JAKE The stone's magnetic... (looks around) Maybe it has something to do with opening the door. Before he can say more there is a beating of drums and the sound of chanting. Corky and Jake exchange glances and look up to see.... THE PROCESSION Ted, dressed as Anubis, leads Sarah in the white gown into the clearing. Behind them, Jack is being carried on a litter by four women. He is adorned with jewels and looks every bit a king, if not a god. BACK ON JAKE AND CORKY They stare in disbelief. JAKE I don't believe this. CORKY I do. (beat) Why is Sarah dressed like that? (idea) Jake! You don't suppose they're getting married! Jake shakes his head, but he's beginning to wonder. ON THE PROCESSION as it moves up the steps. Ted and Sarah climb to the stone door. As they reach the top: JAKE Hiya, Sarah. SARAH (slight smile) Hi, Jake. CORKY Gee, Sarah, you look swell. SARAH Thanks, Corky. JAKE Quite a masquerade party. TED Silence! JAKE You wanna play big bow-wow with the natives, Ted, go ahead. But don't try it on me. TED Sä u su. (Guard him!) In response, a warrior with a sword steps forward and holds its point to Jake's back.... TED Hand over the capstone. JAKE What makes you think.... Ted motions and the sword in Jake's back is pressed into the flesh. TED (hard) The capstone. Jake slowly pulls it out of his flight jacket and hands it to Ted. He turns and steps forward holding up the capstone and speaking to the natives in the old tongue. As he does.... CLOSE ON SARAH She edges to Jake and Corky and whispers rapidly. SARAH (whisper) He's insane. I didn't know what to do but play along. JAKE I thought you wanted to marry him. SARAH Jake Cutter. I'm in no mood for wise-cracks. It might interest you to know that when a priest of Amon-Ra takes a virgin bride... (off his look) That's me! He has to have a sacrifice. (beat) That's you. JAKE Figures. CORKY Sarah, I like you and all but I don't think I wanna be sacrificed at your wedding. JAKE How's he going to do it? SARAH I don't know. (beat) Now what's your plan? JAKE (astounded) What's my plan? Sarah nods. Jake looks down at the natives and the warriors guarding him. He gets an idea. ANOTHER ANGLE Ted finishes his speech and turns, placing the capstone on the mini- pyramid. The entire area begins to rumble. The natives shriek with fear, suddenly the great stone door begins to rise, higher and higher until the entrance to the pyramid is open for the first time in 4,000 years. Sarah sneezes. INTERIOR PYRAMID TUNNEL TED Miy ayk asun ire shunu ta karura. (Get them inside the cave.) The warriors shove Corky and Jake inside the pyramid. They stumble a few feet down the dark slanting tunnel. SARAH (screaming) Jake! TED You sought the tomb of the Pharaoh Ka...you shall have eternity to explore it. He removes the capstone and tosses it inside the pyramid with Jake and Corky. ON THE HUGE STONE DOOR as it begins to rumble and close. ON JAKE He looks at the huge stone sliding down and at the spear and bow-armed warriors outside. Then.... JAKE (yells) Jack! Come! ON JACK He leaps off the chaise and races up the steps. The second he hits the ground the natives prostrate themselves. Jack racing up the steps is like a bowling ball knocking over warriors...they can't hit the deck fast enough. NATIVES Yau nak ya anupu -- nat jir a a. (Praise be Anubis, the great lord on high.) INTERIOR PYRAMID TUNNEL Jack races past the prostrating guards to Jake and Corky. JAKE Good boy! Jack barks twice. TED Im saasun. (After them!) Djadih imasun. (Take them prisoner.) Ted keeps shouting at the natives, but they will not move. Jake, Corky and Jack start to climb out but Ted grabs a sword and rushes Jake. ON TED AND JAKE as they struggle beneath the slowly descending stone. Jack attacks Ted. JAKE (fighting) Corky, get Jack out of here! Corky pulls Jack off Ted and struggles to climb out of the tomb with Sarah's help. FEATURE JAKE AND TED in their fight. As they slip deeper down the tunnel...the stone dropping lower and lower. ON SARAH, CORKY AND JACK It is all Corky can do to hold Sarah and Jack from going back inside to help Jake. SARAH Jake! Ted! Get out of there! ON THE STONE descending lower and lower. ON JAKE AND TED as they battle to the death. Both realizing that the stone is about to seal them in forever. Jake slugs Ted once...twice. Ted slashes with the sword, finally catching Jake on the thigh. Jake rolls over. Ted slips from the force of the blow and slides deeper into the tunnel. The stone is now only a foot or two above the floor of the tunnel. Jake struggles to climb out of the tomb. ON TED He pulls the mask off, his face contorted in fear as he sees the gap narrowing between the stone and the floor. He scrambles forward. ON JAKE as he rolls under the huge stone and turns, extending an arm back for Ted. JAKE (to Ted) Take my hand! Ted crawls up the slanting floor and is almost to the door when it settles with a thunderous thud. The last thing we hear from the tomb is Ted's panicked scream. ON SARAH as she rips her dress to bind Jake's wound. SARAH Jake, we've got to get him out! JAKE We can't. The only way that door can be opened is with the capstone...and it's buried in the tomb with him. She stares at the door, tears in her eyes. ON JACK as he moves into the bushes. ON THE WARRIORS They begin to rise and advance threateningly towards our trio. ON JAKE, CORKY AND SARAH at the top of the steps. CORKY Ah...Jake. I think they're upset with us. JAKE (looking around) Jack? CORKY He's... (embarrassed) ...you know. JAKE Jack! Get back out here. CLOSE ON JACK He turns and looks at Jake from the brush. ON JAKE The warriors are getting closer. JAKE Please. ON ALL Jack demurs and trots back out on the ledge. The natives immediately prostrate themselves. JAKE Thank you. Now would you mind leading us out of here. Jack barks once and trots down the steps...our trio on his tail. MOVING WITH THE GROUP as they pass through the natives, prostrate before the living god. JAKE (to Sarah) He's never going to let us live this down! Jack barks twice. FADE OUT _END OF ACT FOUR_ _TAG_ FADE IN EXTERIOR BORAGORA - NIGHT - ESTABLISHING Music coming from the Monkey Bar. INTERIOR SARAH'S ROOM She is quietly putting relics back into the trunk. She picks up the Anubis, shudders and wraps it in the trunk. There is a knock at the door. SARAH It's open. Jake walks in with a copy of _Harper's Bazaar_. Throughout his dialogue, Sarah continues to pack the trunk. JAKE I, ah, picked this up from one of the Clipper passengers. It's only a month old. (beat) Has all the latest Paris fashions. (beat) Hems are going down this year. (beat) Shame. She looks up. JAKE I mean, in your case, be kinda nice if they went up. She suddenly rushes into Jake's arms, startling him. SARAH Oh, Jake. I loved Ted once or thought I did and he had my father murdered. JAKE Sarah...some men are driven by strange demons. The Ted you loved wasn't the Ted who killed your father. Maybe you should try to remember the good part of him. SARAH (tears) Maybe...in time. But right now all I know is Ted took my dad from me and I miss him. (trying to recover) Could we take a walk? JAKE Sure. EXTERIOR VERANDA - NIGHT as Jake and Sarah emerge from her room and walk along the veranda in the moonlight. We can hear the piano tinkling something nice in the bar below. SARAH You know, Jake, the really sad part is I thought dad's spirit was here. JAKE Maybe it was. SARAH No. Ted told me how he powdered his hair and put on dad's suit.... JAKE The second time you saw him. SARAH (stops) What? JAKE Sarah. The first time you saw your dad here, when he warned you, it was the night _before_ Ted came in on the Clipper. The realization hits her. JAKE (softly) I think your dad was watching over you...and always will. She looks closely into Jake's eyes, smiles and kisses him very tenderly. WIDE ON JAKE AND SARAH from the other end of the veranda as they kiss. A match flares in the foreground as a man lights his pipe. As they turn to look, we.... FREEZE FRAME _THE END_
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