TALES OF THE GOLD MONKEY

VISIONS FROM THE PAST

Participating Writers
George Geiger
Sheldon Chad
Donald R. Boyle

Written: August 3, 1982
Revisions: 8/12/82



			_ACT ONE_

FADE IN

EXTERIOR OPEN SEA - NIGHT - UP ANGLE TO SHIP - STOCK

At first we see only diffused and haloed ship lighting floating behind a 
curtain of fog.  Then, a ship's bow knifes out of the muck and cuts toward 
us down a long swell.  This is the Shima Maru, a double-decker ferry 
making for Boragora on its weekly circuit through the Marivellas.

EXTERIOR UPPER DECK - NIGHT - MOVING PAST

Wisps of fog catch in yellow lights between cabin doors.  The ship's 
foghorn booms, surprisingly loud.  Then, the usual pattern of sounds return:  
the bass thud of steam pistons, the disembodied talk of a few passengers, 
and the muted broadcast on someone's radio of "Cherokee."

ON CAPTAIN ITO - 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 fog.  Captain Ito's poise from a lifetime at sea is ruffled by 
puzzled concern.

ANGLE TO SALON DOOR

Colleen Shaughnessy steps out of the bright salon behind Captain Ito into 
the relative coolness of the deck.  She fans herself with one hand, carrying a 
cup of coffee on a saucer in the other.  Her upturned nose, freckles and 
flaming red hair, worn long against the fashion, peg Colleen as an Irish 
country lass.  But, she has a polish or worldly sophistication which ever her 
simple dress and polite reticence cannot conceal.  Captain Ito smiles 
formally and bows.

			COLLEEN
	Evening to you, Captain.  It would appear we've brought a bit of 
	Irish mist to spoil your paradise.

			CAPTAIN ITO
	When you leave us...that will spoil paradise.

Another bow and Captain Ito continues his walk away from Colleen.  His 
smile is replaced by a renewed frown of worry which contrasts with 
Colleen's delighted laugh.

			COLLEEN
	Shameless, Captain...but thank you.

Michael Collingswood and Patrick Shaughnessy pile out of the salon, 
obviously enjoying the benefits of the nearly empty bottle of brandy in 
Shaughnessy's hand.  He is a ruddy, rugged Irishman of middle age who 
dominates the younger Collingswood, a callow, eager American.

			SHAUGHNESSY
	Don't be thinkin' I didn't hear you, now.  Is our good Captain 
	making unseemly advances?

Colleen adopts a coy expression, not afraid to hold out her coffee cup for a 
last drop of brandy as Shaughnessy tips the bottle into his and 
Collingswood's snifters.

			COLLEEN
	We were talking about the weather.

			SHAUGHNESSY
		(downing his brandy)
	Aye...tropical heat.  They say it fires the blood.

Shaughnessy looks pointedly at Collingswood, who drops his eyes from 
Colleen.  She links her arm in his.

			COLLEEN
	Pay him no mind, Mr. Collingswood.  He's a terrible old lecher.

Shaughnessy postures, blustering, but with good humor.

			SHAUGHNESSY
	Don't be so vicious with you poor father who's only looking out 
	for you.

			COLLEEN
		(wink to Collingswood)
	If only he'd look the other way.
		(to Shaughnessy)
	Now, we'll be in Boragora by dawn...and on board the Clipper 
	headin' home in time for breakfast.  Until then, Mr. Collingswood 
	and I would like a little time for....

			COLLINGSWOOD
		(finishing)
	Conversation.

Colleen smiles to herself, and squeezes Collingswood's arm.

			COLLEEN
	Some of that, too.  Good night, father, dear.

With this, Colleen steers Collingswood away from Shaughnessy.  Not too 
many steps along the deck and they begin fading into the fog.  
Collingswood's arm drops around Colleen's waist.

ON SHAUGHNESSY - FOLLOWING

He chuckles again, and turns to walk the opposite direction from the couple, 
passing Captain Ito standing at the door of the wheelhouse.  Shaughnessy 
hurls the empty brandy bottle over the rail before he drops out of the picture 
down stairs to the lower deck.  Captain Ito continues his worried gaze.  
Something in the fog is slapping through the water.  He gestures behind 
him, but the Helmsman does not respond.

			HELMSMAN
		(hypnotic)
	Katarangura....

			CAPTAIN ITO
		(angry; in Japanese)
	Baka!  There is no Katarangura.

Captain Ito yanks a lanyard for a long blast on the foghorn.

INTERIOR SHIP'S COMPANIONWAY - NIGHT

Collingswood whispers in Colleen's ear as they approach, everything cozy 
and promising between them.  She giggles.

			COLLINGSWOOD
	Shh...there's your father's cabin.

Collingswood points to a door.  Colleen stops beside another door, and puts 
her hand on the knob.

			COLLEEN
		(meaningfully)
	But this one is mine.

A beat of shared understanding, then Colleen opens the door.  Instead of 
following her inside, Collingswood pulls away, noticing something across 
the hall.

			COLLINGSWOOD
		(concerned)
	Just a second.

He hurries to a cabin on the other side of the companionway.  The light is 
on inside, and the door stands slightly ajar.  After a beat of hesitation, 
Colleen rushes after him.

COLLEEN'S POINT OF VIEW - COLLINGSWOOD

He turns, a small, blue steel automatic pistol already in his hand and pointed 
at Colleen.  All traces of his inebriation have disappeared.

			COLLINGSWOOD
		(quietly)
	Stay back.

Frightened, indecisive...her cry to Collingswood is loud enough to also be 
warning before he can kick in the door.

			COLLEEN
	Please, Michael...don't....

At that moment, a hammering roar grows from nothing to an overpowering 
sound in just seconds.  It distracts Collingswood as he kicks.  The hammer 
sound is replaced by an even more terrible smashing and rending of metal 
and wood.

INTERIOR CABIN - NIGHT - ON COLLINGSWOOD

The deck heaves, sending Collingswood reeling into the cabin...then, 
absolute darkness as the lights go out.  Colleen screams, men grunt and 
thrash until the final punctuation of a gun shot.

EXTERIOR DECK - NIGHT

Panic and chaos, terrified passengers and crew dash out of the fog, 
strapping on life vests, carrying children.  A babble of fear and confusion in 
a dozen tongues.  The deck is listing, metal and wood groaning and 
cracking under the strain of its destruction.  Captain Ito makes a vain effort 
to restore calm.

			CAPTAIN ITO
		(in Japanese)
	Be calm.  Get in the lifeboats.

			HELMSMAN
	No!  Katarangura!

			CAPTAIN ITO
		(in English)
	Into the lifeboats.  We're sinking.

Something dark and menacing looms beyond the curtain of fog.  There is 
another explosive blast of water and air.  The Helmsman charges the 
camera until his face fills the frame.  His wail is as if from one looking into 
the face of doom.

			HELMSMAN
	Katarangura...!

CUT TO

EXTERIOR - SKY - NIGHT - LOW ANGLE - STOCK

The Goose flies above us, its engines droning in a slow, harmonious beat, a 
tropical moon hanging like a globe above its wing.  The same, static-filled 
radio broadcast of "Cherokee" we heard on the Shima Maru competes with 
the engines.

			JAKE'S VOICE
		(humming along)
	Some things are just so amazing you wonder if you'll ever think of 
	anything as good...like flying...like flying at night under a full 
	moon.

INTERIOR THE GOOSE'S COCKPIT - NIGHT - PROCESS

darkened except for the green tinge of the instrument lights and the cherry 
glow from 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
		(with conviction)
	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....

			JAKE
		(sighs)
	Here....

Under this, the Radio Announcer has been saying:

RADIO ANNOUNCER 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."

ON JAKE - PROCESS

as he listens closely to the music.  We move in on his eyes.

			CORKY'S VOICE
	Yeah...we're here.

CUT TO

EXTERIOR - SKY - NIGHT - THE MOON

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 an 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.  Long tresses of red hair fall 
across her bare shoulders.  Jake is about to take her in his arms when a haze 
of red going to black smears over our vision.

			CORKY'S VOICE
	Hey, Jake!  See that?  Jake?

DISSOLVE TO

EXTERIOR - SKY - NIGHT - JAKE'S POINT OF VIEW

as a red emergency flare arcs across the sky past the moon.

			JAKE'S VOICE
		(calm)
	I saw it, Corky.

INTERIOR COCKPIT - NIGHT - JAKE AND CORKY - BLACK

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 - EXTERIOR - SKY - NIGHT - THE GOOSE - 
STOCK/PROCESS

as Jake drops it from the clear, moonlit skies into an unbroken layer of 
cloud, the fog we saw before.

			CORKY
		(edgy)
	This soup is awful thick.

			JAKE
	We'll give it a couple of passes.

THEIR POINT OF VIEW THROUGH THE COCKPIT WINDOWS - 
BLACK

Blank, then Jake hits the landing lights and suddenly we see the swirling 
fog hurtling at us.  Another red flare shoots past.  Jake corrects his course 
for it.

			CORKY
	I can't see who's shootin' those flares, Jake.

			JAKE
	Not from up here!

He hauls back on the yoke for a steep turn.

			CORKY
		(really aghast)
	Jake!  You ain't gonna set down in this stuff.

Jack barks twice for "yes" and heads for his spot in the rear.

			JAKE
	Well, maybe somebody doesn't want to be swimming all night.

			CORKY
	Me.

			JAKE
	Just go aft and drop out a line of flares.

Corky unbuckles and heads for the back, opening an emergency locker and 
taking out a handful of flares.

EXTERIOR GOOSE CABIN - NIGHT - CARGO HATCH - BLACK

Corky leans into the slip stream, fighting the blast of wind and fog that hit 
him, pulling the igniter strings and dropping a series of flares in quick 
succession.  They fly backward, snatched out of his hand by the wind.

EXTERIOR SEA - NIGHT - STOCK

Another turn and Jake levels the Goose for a landing.

INTERIOR GOOSE - NIGHT - BEHIND JAKE AND CORKY TO 
WINDOW - BLACK

Jake trims the plane for landing, easing back the throttles, a line of flares 
stretching away ahead and below them.  Corky is buckling back into his 
seat.

			CORKY
	We don't even know what kind of sea is running, Jake.

			JAKE
	Long and smooth...
		(beat)
	Or, maybe some chop...Or....

			CORKY
	Jake, if you don't know...kinda pretend you do...like always.

INTERCUT - EXTERIOR SEA - NIGHT - STOCK/PROCESS

The Goose lets down toward the floating flares, rocking and roller-coasting 
as Jake get a fix on the surface, then dropping into the water trailing long 
rooster tails.

			JAKE
	You see...light as a feather.

			CORKY
	Light as a lead feather...dropped out of a tree.

			JAKE
	We're down in one piece, aren't we?

Jack barks once for "no."

ANGLE TO JACK

He's just getting up from a sprawled position on top of some cargo.  He 
gives Jake a baleful, one-eyed glare.

			JAKE
		(continuing)
	We've gotta get you some kind of seat belt.

EXTERIOR GOOSE - NIGHT - CARGO HATCH

Jake and Corky lean out, listening, red in the light from the flares.  The 
engines idle fitfully above.  The same explosive blast of water and air that 
disturbed Captain Ito sounds again out of the fog.

			CORKY
	Wish I could see somethin'.

			JAKE
		(calling)
	Hello!

We now hear the muffled clink of oarlocks.

			VOICES
	Over here!  Koko!  Tout droit!

Corky spots something in the fog.  He strains to see.

CORKY'S POINT OF VIEW - THE FOG

A huge shadow stirs in the water just beyond the line of flares.

			CORKY'S VOICE
		(pointing)
	Over there, Jake.  I see 'em.

ANGLE PAST CORKY TO WATER

A lifeboat looms out of the fog from another spot than the shadow.  This 
confuses Corky, but he throws them a line, and pulls the boat in while 
keeping a eye on the other spot.  The faces of the survivors are drawn and 
shaken.  Some are soaked.  Some smeared with oil.  Corky keeps a wary 
eye on the spot where he thought he saw something.

ON CAPTAIN ITO

standing to hold the boat to the Goose's pontoon.

			CAPTAIN ITO
	You have been most daring to land under these conditions.

The Helmsman suddenly rears out of the boat, climbing past Captain Ito 
and trying to scramble into the Goose.

			HELMSMAN
		(in Japanese)
	It was Katarangura!  Go quickly.  Take me with you.

Several of the other crew members in the boat take up the cry of 
"Katarangura."  Captain Ito roughly hauls the man back into the boat, 
shoving him into his seat.

			CAPTAIN ITO
	Apologies for my unworthy sailors.  They will be disciplined for 
	their hysteria.

			CORKY
	Katarangura?  The giant octopus?

			JAKE
	Corky!

INTERCUT - CORKY'S POINT OF VIEW - THE WATER

Again, the huge shadow, maybe something, maybe nothing, stirs in the 
water just beyond the glow of a flare.

			CORKY
	There!  I thought I saw it before!  It must've sunk their ship.

			JAKE
	This is no time to start imagining sea monsters.  Forget 
	Katarangura, okay?

Corky is beginning to tremble, staring down at the water.

			CORKY
		(getting weird)
	Sure, Jake.  But, we're right over the Peleau Trench.  It lives down 
	there.

Jake ignores him.

			JAKE
		(to Captain Ito)
	We can only take five or six of you aboard.

			CAPTAIN ITO
	We are in no danger.  Our SOS was answered by the Koji Maru.  
	She should be here shortly.
		(beat)
	There is one man who was wounded.  If you would take him.  He 
	needs medical attention.

ANGLE - WIDE TO SHAUGHNESSY

He is lifted, moaning and delirious out of the boat, and many hands help 
him into the Goose.  His right leg is bloody.

			JAKE
	We'll have you in Boragora in twenty minutes.  You can get 
	treatment there.
		(beat; to Captain Ito)
	Is he the only one?

			CAPTAIN ITO
	The only one with injuries.  But, one passenger unfortunately went 
	down with my ship.

ANGLE PAST JAKE TO COLLEEN

She is rising from the boat to stand on the pontoon...a disheveled, 
frightened woman, but still a beauty.  Jake reacts with astonishment when 
he sees Colleen.  She looks just like the girl in the flashback.  He freezes 
and she is uncertain if she is welcome aboard.

			COLLEEN
	The injured man is my father.  May I come with him?

Jake is captivated by the sight of Colleen.  She is very aware of his curious 
reaction and bold stare.  He finally nods and she steps past him into the 
Goose.

			JAKE
		(to Captain)
	We can take a few more.

			CAPTAIN ITO
		(shakes his head)
	This Koji Maru should be here shortly.  I want to keep my crew 
	together.
		(salutes)
	Thank you, Captain.

Jake salutes back and closes the hatch.  As the Goose taxis away, Captain 
Ito nods to one of the crew and they fire another flare.

ON THE FLARE

as it arcs up through the fog and we:

DISSOLVE TO

INTERIOR PRINCESS KOJI'S ESTATE - DAY - CLOSE - AQUARIUM - 
BLUE SCREEN

The still surface of an enormous aquarium is dotted with blooming lilies, a 
peaceful perfection.  Then, a minute splash disturbs the tranquility and in an 
instant, the surface is boiling with ravening piranha.

ON PRINCESS KOJI

standing beside the ornate aquarium, a slow smile of tranquil satisfaction 
smoothing her features.  She dangles another wiggling minnow over the 
pond when a sound disturbs her reverie.  Anger flashes in her eyes.

ANGLE ACROSS PRINCESS KOJI TO APPROACHING GROUP

as a shoji screen opens.  Several kimono wearing retainers contemplate 
their soft sandaled feet as they shuffle backwards leaving Todo and Captain 
Ito alone.  One glance from Princess Koji and Captain Ito drops to his 
knees, frozen in a low bow.  Todo rests his hand on the hilt of his sword.  
Princess Koji lets them wait as she resumes her feeding of the piranha.

			PRINCESS KOJI
	You see how they know I have more food for them.  But, they 
	know me, they know the time...they know.  It is all they have to 
	worry about in life, so it is not surprising.

Princess Koji drops the minnow and turns.  As she approaches, Captain Ito 
cringes.

			PRINCESS KOJI
		(continuing)
	Relax, Captain Ito.  Stand.  If I held you responsible in the least, 
	you would be bowing to your ancestors by now.

Captain Ito breathes a sigh of relief, touching his forehead to the ground at 
her feet, then standing.  Todo frowns.

			TODO
	Permit me, but I think it would be better....

			PRINCESS KOJI
	You always think it would be better.  That's why I like you, Todo.

He beams.

			PRINCESS KOJI
	I may indulge myself in a few moments of softness because I 
	know you keep a proper edge on your katana.

Todo grins, then pantomimes several vicious swipes with an invisible 
sword.

			PRINCESS KOJI
	Now, Captain.  Tell me how my ship could sink in open water.

			CAPTAIN ITO
	There were no other ships, there were no reefs....

			PRINCESS KOJI
	Katarangura?

			CAPTAIN ITO
		(treading carefully)
	In all deference, my mistress, I might expect my humble crew to 
	believe in such a myth, but....

			PRINCESS KOJI
		(laughing)
	I do not deal in myths, Captain.  Something sunk my ship.  
	Something very real.  But, I'm not at all mystified, because, like 
	the fish, I know that if I am fed, one day I must expect to be eaten.

She gestures at Todo who grins expectantly, draws his sword and artfully 
jabs into the aquarium.  He comes up with a piranha flopping on the point 
and flips it to another part of the room we have not yet seen.

ANGLE - TO CAT

A lithe jungle beast, pampered, curled atop some pillows.  The cat pounces 
on the fish and begins to eat.  We hear Princess Koji's delighted laugh.

CUT TO

EXTERIOR BORAGORA - DAY - ESTABLISHING

It's morning.  We hear the Clipper's big engines crank up.

INTERIOR JAKE'S ROOM - DAY

The room is dark except for slats of light coming through the shutters.  Jake 
is sprawled across the bed, still dressed, tangled in his mosquito netting.  
Spread on the bed around him are a few letters, pictures and small souvenirs 
like a swizzle stick, etc.  The sudden roar of the Clipper's engines as they 
catch and run up to max rpms jerks Jake awake.  It is obvious his sleep has 
been troubled, and his dreams are confused with reality for a few long 
moments.  He stands, a bit shaky, and immediately stumbles into Jack who 
is lying by the door.

			JAKE
	Sorry...guess I'm a little rocky.

Jack barks twice.  Jack rolls over, disgusted with Jake.

			JAKE
		(continuing)
	What do you know about it.  You slept all night.

Jake steps over Jack and peers out his window.

JAKE'S POINT OF VIEW - THE CLIPPER - STOCK

It lifts off the water.  The engine sound dies away, leaving Jake in silence.

BACK ON JAKE

He fingers his wrinkled shirt and reacts to the used feeling of his clothes.  
He unbuttons his shirt and takes a long moment at the sink to splash water 
on his face.  Toweling off, Jake turns and see the pictures, clippings, etc., 
spread across the bed.

CLOSER - ON THE BED

Jake sits and picks up one of the pictures.  Creased, stained, the picture has 
obviously been around the world a few times.

INSERT - THE PICTURE

A drugstore snapshot in black and white with old-fashioned deckled edges 
showing a young couple on the beach in bathing suits circa 1930...Jake and 
the girl from the flashback.  Jake's hands hold a yellowed newspaper 
clipping over the photo.  It's an engagement notice headed "Davis-Cutter."  
Camera pushes in to the girl's face.

MATCH CUT TO

INTERIOR MONKEY BAR - DAY - COLLEEN'S FACE

She's eating breakfast alone at a table.  Again, the resemblance is striking 
between Colleen and the girl Jake has been thinking of.  It's early, only a 
few patrons at the bar, and a few more eating breakfast, including Louie 
and Sarah at a table.

ANGLE TO INCLUDE JAKE

He is standing near the bar ad libbing "good morning's," but his eyes don't 
leave Colleen.  Jack waits, as Jake pours himself a cup of coffee from the 
setup of expresso pot and demitasse cups on the bar.  He pours more coffee 
into a saucer.

			JAKE
		(to Colleen)
	Too bad you missed the Clipper.
		(eyes it)
	Dress looks nice.

Colleen smiles at this and indicates Sarah with a look.  Obviously she and 
Sarah have gotten to know each other already.

			COLLEEN
	Thank you, Mr. Cutter.  Sarah's been kind enough to give me free 
	rein of her wardrobe, or I'd be hiding in my room for two weeks til 
	the next flight out.  Still, that's little enough to ask for bein' alive.

ON JAKE

Jake has been blowing on the saucer of coffee, and now moves to set it on 
the floor.  Jack barks once for "no."

			JAKE
	Cafe au lait?

Jack barks twice for "yes."  Jake pours some steamed milk out of a pitcher 
into the saucer and sets it on the floor for Jack, who begins to lick it up.

ANGLE TO TABLE

Jake brings his cup of coffee over and sits with Colleen.  He is unable to 
take his eyes off her, staring at her over his coffee cup.  His direct gaze 
unnerves her.

			JAKE
	How is your father?

			COLLEEN
	He won't lose his leg, thanks to you, but he's so very weak...I'm 
	worried.

Jake considers this while he fishes a cigar out of his pocket, eyes still on 
Colleen.  He strikes a match on the table and takes a big, smoky drag off his 
cigar.

			COLLEEN
	How can you smoke a cigar before breakfast?

As if bitten, Jake whips the cigar out of his mouth and stubs it in an ashtray.

			JAKE
	Sorry...I forgot you didn't....

			COLLEEN
		(puzzled)
	Forgot I didn't what?

Jake pauses, a surprised and mystified smile playing on his face.  Whatever 
it is, it makes him laugh at himself and shake his head.

			JAKE
	Nothing.

There is a sudden babble of voices outside the bar.

ANGLE TO DOOR

Corky bursts in ahead of as party of locals, including Willie, dressed as 
Reverend Tenboom, all gathered around a local youth in a loincloth.  
Everyone is bubbling with excitement.  Corky spots Jake and hurries to 
him.

			CORKY
		(breathless)
	You won't believe it, Jake.  The Shima Maru didn't sink.  
	Katarangura let it go.  It's grounded on a reef near Peleau, right 
	next to the trench.

			JAKE
	Corky, if it is on the reef, it doesn't have anything to do with a 
	giant octopus.

			COLLEEN
		(shocked)
	Whatever the reason.  Heaven be praised!

			WILLIE
	I agree.  It is verwonderlijk.  Gooden morgen, Jake.
		(to Colleen)
	Juffrouw.

ON COLLEEN

Locals buzz around the native in the background.  Colleen returns Willie's 
greeting with a nod, a newly determined and confident look on her face.  
She tugs Jake's sleeve and when he turns, for the first time, meets his eyes.

			COLLEEN
	Mr. Cutter... Do you think...is it possible something might be 
	salvaged from that ship?

			JAKE
	The odds aren't very good she'll stay on a reef for long.  It'd have 
	to be something worth salvaging.

			COLLEEN
	It is...A box, a waterproof box with keepsakes of my poor dear 
	mother.  Her wedding band and pictures and such.  They mean the 
	world to my father.  Can you understand?

			JAKE
		(beat; the irony)
	Yes, but you can't just ---

			COLLEEN
	There's also his medicine...for his heart!

			JAKE
		(swayed, but)
	Louie's practically got a pharmacy in his office.

			COLLEEN
	This medication is quite special.  That's why we brought a box of it 
	with us from Ireland.

She reels him in with her eyes, and it's obvious Colleen exerts a special 
influence over Jake.

			COLLEEN
		(continuing)
	Could you get it for him...for me?

			JAKE
	Well...ah...I guess I could give it a shot.  Depends on how deep she 
	lies on the reef...I probably could dive to your cabin.

Warming to the idea, and to the joy it brings to Colleen's face, Jake is 
smiling confidently.

ON CORKY

He's been listening and sees the spell descending over Jake.

			CORKY
	Don't forget, Jake, we've got to fly into Lebec's plantation today 
	with his supplies.

			JAKE
		(disappointed)
	Sometimes your memory's amazing, Corky.
		(to Colleen)
	I've got a contract to fly.  I can try tomorrow morning.

Colleen leans over and kisses Jake on the cheek.  He eats it up.

ANGLE TO SARAH

She's not liking this a bit, and trades "Isn't that cute," looks with Jack.  
Colleen stands and gets Willie's attention.

			COLLEEN
	Reverend...?

			WILLIE
		(tips hat)
	Tenboom is my name.

			COLLEEN
	My father and I were in last night's shipwreck.  He's suffering 
	mightily.  And, as he always has taken great comfort from the 
	church, perhaps a few words from you....

			WILLIE
	Say no more.  I will gladly attend him.

Willie and Colleen head for the stairs.

ON JAKE AND CORKY

Sarah has joined them as the buzz from the locals gets louder.  Corky is 
agitated.

			CORKY
	Why'd you tell her you'd dive, Jake?  You're forgettin' all about 
	Katarangura.

			JAKE
	Don't start that again.  There is no Katarangura.

The native who brought the news hears this last remark.

ON THE NATIVE

			NATIVE
	Oh, yes!  Him big fella puss puss b'long same Peleau.  Boat fella 
	stay on this fella's back all same.

ON THE TABLE

			SARAH
	What's all this about...Katu....

			CORKY
	Katarangura.  He's an octopus with arms fifty feet long and as 
	thick as a tree.  The natives say that every now and then it eats a 
	ship.

			SARAH
	And you believe them?

			CORKY
	I guess they oughta know.  They live on the water.

			JAKE
	Corky, there are plenty of real hazards in the world to sink ships.  
	You don't need to invent a monster to do it.

ANGLE TO PARROT

above them on its perch.

			PARROT
	Don't be so sure...Don't be so sure....

HIGH ANGLE - ABOVE BALCONY TO BAR

Colleen leads Willie along the balcony to a room.  They enter.

INTERIOR SHAUGHNESSY'S ROOM - DAY

The room is dim, mosquito netting shrouding a still form on the bed.  
Colleen and Willie enter, stepping quietly and somberly as if approaching a 
death bed.  Willie makes a clerical gesture to an older Polynesian woman 
sitting beside the bed acting as a nurse.  The woman nods understandingly 
and leaves the room.  When she shuts the door behind her screening out the 
bar noise, the room is hushed.  Colleen leans into the netting.

			COLLEEN
	I've brought a man of the cloth to see you.  Would you take a wee 
	moment to pray with him?

ON THE NETTING OVER THE BED

Colleen draws the netting back revealing Shaughnessy's inert form, bathed 
in sweat, in grave condition.  With eyes still tightly closed, an impish smile 
spreads over Shaughnessy's lips.  Then he cocks one eye open, and winks.

			SHAUGHNESSY
	Top o' the mornin' to you, Father.  I don't suppose you have a drop 
	of whiskey on you, now, do you?  Anythin'd do, but Irish'd be best 
	for the throat, you know.  We do have a bit o' talkin' to do, after 
	all.
		(beat)
	Don't we...Kapitan?

CLOSE ON WILLIE

as his pious look changes to a smile.

			WILLIE
	Jah.

					FADE OUT

			_END OF ACT ONE_


			_ACT TWO_

FADE IN

INTERIOR LOUIE'S OFFICE - DAY

Jake and Louie are pouring over a nautical chart of the Marivellas spread 
across Louie's ornate desk.  Jack is asleep across one corner of the map, 
holding it down.

			JAKE'S VOICE OVER
	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, everything was perfect, so I should have 
	known it meant trouble....

Louie is in the middle of an explanation.

			LOUIE
	...of course, this is nothing to compare with the great Maginot 
	line...which, I myself helped to build...but it will be 
	something...perhaps enough to keep the French Marivellas out of 
	the hands of the Axis powers and their co-prosperity sphere.

Jake dots his finger from island to island on the chart.

			JAKE
	Pretty crafty, Louie.  And how many of these atolls have you 
	stashed stuff on?

			LOUIE
		(showing)
	Three so far...a month's worth of food and ammunition and mortar 
	rounds for a company of men on each.  Eight more to go.

			JAKE
	Why the big secret?  The French can do whatever they want in 
	their half of the Marivellas.

			LOUIE
	Vrai.  But, it would be a good excuse for the Japanese to claim we 
	are the saber rattlers.  Discretion is best.

			JAKE
	And, you're actually using Princess Koji's ships.  Amazing.

			LOUIE
	The franc is as green as the yen or the mark...or the dollar.

			JAKE
	You mean she's color blind.

			LOUIE
	Ah, oui...The supplies in the hold of the Shima Maru were to be 
	cached...here, on Petite Plage.  Pardon, Jacque.  But, something or 
	someone had other ideas.

Louie has to move Jack to show Jake the island.  Jack immediately lies 
down on the other side of the map.

			JAKE
	I take it you don't side with Corky on the giant octopus theory.

Louie laughs, settling in his chair.

			LOUIE
	I wish I could...then I would not have to ask a dear friend of mine 
	to perhaps risk his life for my country.  But, seeing as you already 
	plan to dive....

			JAKE
	You need to know if the Axis is wise to your little Maginot.

			LOUIE
	Exactamente...And, fortunately, while the Shima Maru is hanging 
	on that reef, we have a chance at finding out.

			JAKE
	You mean I have a chance.

Louie nods.

			JAKE
	Don't you have any other good friends on this island?

Jack barks once for "no."  Off Louie's look to Jack....

CUT TO

INTERIOR WILLIE'S HOUSE - DAY

Willie is patiently reading a heavy tome.  Camera adjusts to discover he is 
actually sleeping behind it, glasses hanging crookedly off his nose.

ANOTHER ANGLE

A lovely island girl, Nollie, is reading her own, simpler book at Willie's 
feet.  She reaches up and taps the back of Willie's book.  No answer.  She 
taps harder and causes the precariously balanced book to topple.  Willie just 
catches it from falling.  He adjusts his glasses.

			NOLLIE
	Time for blessing.

			WILLIE
		(yawning)
	My, my, my, Nollie.  You're being awful holy today.

			NOLLIE
		(proudly)
	I am the holiest of your converts.  Many times you have told me 
	this.

			WILLIE
	I know, but it is possible to be over blessed.

			NOLLIE
		(hurt)
	How, when blessing is a virtue.

			WILLIE
	You should not attempt to argue theology with me.  Patience is 
	also a virtue.  Now, ponder that while I take a walk to...meditate.

Willie stands, yawns again, and heads for the door.

EXTERIOR WILLIE'S HOUSE - DAY - CLOSE - WILLIE

He steps outside in mid-yawn and is lifted off the ground by two of Todo's 
soldiers.  He dances, his feet just off the ground, as they carry him around 
to the side of the house.

ANGLE - IN SHADOWS

Protected from other eyes, Willie is powerless to resist.  Princess Koji steps 
out of the shadows, a benign smile on her face.  Reaching up as if to brush 
Willie's cheek, she instead places a sinewy jungle snake around his neck.  
The snake is five feet long and a dusky brown with darker cross banding.  It 
begins to coil around and around Willie's neck as Princess Koji speaks 
softly, almost hissing her words.

			PRINCESS KOJI
	For some reason you Germans have made the hilarious assumption 
	you're the...master race.  What unspeakable vanity when compared 
	to this plain brown, timid tiger snake.  It certainly isn't the most 
	beautiful...or largest, or strongest.  It must crawl everywhere it 
	goes.  It doesn't strut like you do, and yet it truly is master of its 
	race...the most poisonous thing on the face of the Earth!

Todo begins to giggle.  Willie's facial muscles twitch in something 
resembling a smile.

			WILLIE
		(wheezing)
	Astounding....

			PRINCESS KOJI
		(anger showing)
	You know what I'm talking about.  The Shima Maru.  My ship.  
	Four thousand tons displacement.  But I have a feeling, call it a 
	conviction, that my ship was sunk by you.

			WILLIE
	Me?..How could I sink your ship?

			PRINCESS KOJI
	By being German...what is done by your countrymen is also done 
	by you, Willie.

Willie sputters, unable to fully respond, the snake tightening its coils.

			WILLIE
	This is...is...very...difficult.

			PRINCESS KOJI
	No, this is easy.  You never want me to get difficult.
		(sighs)
	Remove the tiger so he can breathe, Todo.

			TODO
	He was breathing.

Todo reluctantly takes the snake partially off Willie's neck.  Willie's color 
begins to return to normal, but he can't take his eyes off the snake's head 
and flicking tongue which Todo holds close to Willie's face.

			WILLIE
	The natives are claiming some kind of mammoth octopus or squid-
	like creature sunk your ship.

			PRINCESS KOJI
	Katarangura?

			WILLIE
	You've heard of it?

			PRINCESS KOJI
	Hearing is one thing, believing another.  Now, Willie...I don't 
	know if you or your countrymen are involved in the sinking of the 
	Shima, but if you are, you can tell your pint-size paperhanger in 
	Berlin my bill is ten million Reich marks.

			WILLIE
	Why would we want to sink one of your ships?

Koji gestures and Todo brings the snake closer.

			WILLIE
		(eyes widen)
	Hypothetically, if we did, I can't believe...Berlin would pay that 
	much.

			PRINCESS KOJI
	Then we'll have to have another, more convincing demonstration 
	of who is master of whom.

CUT TO

EXTERIOR MONKEY BAR - NIGHT - ESTABLISHING

Sweltering...suggestive glimpses of Boragoran night life in shadows 
pooling outside the smoky glow from the bar.  Here, excited betting in an 
exotic tongue and the silhouettes of men throwing fighting cocks into a 
circle formed by their own bodies; there, an exotic giggle and a sailor 
leading a native girl up the stairs.  From within, a low babble of voices and 
Sarah midway through "My Funny Valentine."

INTERIOR MONKEY BAR - NIGHT - JACK

taking it all in...a scurvy and mysterious crowd overhung by a low cloud of 
smoke.  Jack is sitting next to Corky on the piano bench as he plays for 
Sarah.  No one is listening to her very closely, including Corky, who is 
more interested in his conversation with a huge Samoan.

			CORKY
	...Around here we call it Katarangura.  I saw it last night.  Arms a 
	hundred feet long and thick as a house...Took the Shima Maru, 
	lifted it into the air...shook it around....

Jack has had enough of this.  He jumps off the bench and we follow him 
through a tangle of legs and into a chair between Jake and Colleen seated 
along at a table.

			JAKE'S VOICE OVER
	All the way to Lebec's plantation and back, I couldn't get Colleen 
	out of my mind...She was like a memory that came to life in front 
	of my eyes.  When something like that happens you tend to do 
	almost anything to keep it alive...even when you know better.

ANGLE TO JAKE AND COLLEEN

eyes locked over a slope-shouldered bottle of Louie's best white.  The 
raucous goings-on in the background do not exist for the couple, nor does 
Jack get a greeting from them.

			JAKE
		(sighs)
	Dance?

			COLLEEN
	The whole night if you like.
		(beat)
	Can I trust you not to step on my toes?

Jack barks once for "no."  Jake ignores him.  Jack jumps back down and we 
follow him through the feet to the piano bench.  He jumps on it, getting 
Sarah's attention.

ON SARAH

Sarah looks down and sees Jack motioning with his head.

SARAH'S POINT OF VIEW - JAKE AND COLLEEN

hand in hand, threading their way toward the piano.  Sarah stops singing in 
mid-verse.  No one seems to notice, and Corky keeps on playing.

			SARAH
	Are they going to dance?

Jack barks twice for "yes."

ON SARAH

She looks hurt and ganged up on and uses anger to cover.

			SARAH
	Sorry, it's not in my contract.

She turns and takes a few steps toward the door, then gives a last look back 
at Jake and Colleen.

			SARAH
		(continuing)
	She's wearing my dress, and now she's going to dance with...I'm 
	taking a break!

Sarah bites off the rest of her thought and heads for the door.

WIDE - PAST JAKE AND COLLEEN TO SARAH

as she stomps out the bat-wings into the night.  Corky shrugs.  Louie passes 
by with a new bottle of wine for a table.  Jake grabs him.

			JAKE
	How about a request, my friend....

Louie is taken momentarily aback, but obviously very flattered by Jake's 
asking.

			LOUIE
	You are too kind, Jake.  No one here wants me to play.

			JAKE
	We do.  It would mean a lot...Please.

The soul of Gallic immodesty, Louie shrugs, "You won't have to twist my 
arm," and signals to Gushie.

			LOUIE
	La clarinette, mon ami.

Gushie rolls over to Louie with a small, black case.  As Louie puts together 
the clarinet, he asks:

			LOUIE
		(continuing)
	Any one song in particular?

			JAKE
	You know...Corky.

Corky plays a flowery introduction to "I Can't Get Started with You," 
during which Jake offers Colleen his arms.  It is a recreation of the earlier 
flashback, except the society dance is now in a South Seas' bar, and the 
society crowd has become the dregs of a hundred back waters.  But, the girl 
is the same, right down to her red hair.

ON JAKE AND COLLEEN

They begin to dance, and Louie takes up the tune on his clarinet.  Not a tune 
so much as a succession of squeaks and wrong notes.  Nevertheless, he 
barrels on with conviction.  Colleen can barely suppress her laugh.

			COLLEEN
		(whispering)
	He's terrible.

			JAKE
	Always has been.  But, it's not the music that counts, it's the 
	motion.

She smiles and nestles her head on his shoulder.

EXTERIOR COLONNADE - NIGHT - SARAH - FOLLOWING

The music rises gently from below as Sarah moodily saunters toward her 
room, mostly lost in thought, paying little attention to her surroundings.  
She rounds the corner and is alerted by a suggestion of motion ahead, but 
no one's there.  Sniffing, Sarah detects fresh cigarette smoke, and bends to 
discover a freshly stepped on butt.  It is directly in front of Shaughnessy's 
room, and the door is slightly ajar.

INTERIOR SHAUGHNESSY'S ROOM - NIGHT

Sarah leans in through the open door.  The room is dark save for a simple 
lamp.  Behind the mosquito netting she can make out the silhouette of 
Shaughnessy's sleeping form.  Sarah quietly closes the door.

INTERIOR SARAH'S ROOM - NIGHT

She enters, flipping on the light, and throwing herself onto the bed, bored 
and disgusted.  Several beats, then she sighs and comes back to reality.  She 
lifts her suitcase radio out of the closet and opens it on the bed, stringing the 
coiled copper wire across the room.

EXTERIOR SEA - NIGHT - U.S. HANCOCK - STOCK

under steam.  We hear the dots and dashes of Sarah's code.

INTERIOR HANCOCK RADIO ROOM - NIGHT

A complex of wheels and gears with a typewriter-like keyboard.  On the 
face of the machine is a garbled message.  Sparks, the radioman, turns to an 
Intelligence Officer.

			SPARKS
	I don't get it, sir.  She's using the old code.  She hasn't changed 
	over.

			OFFICER
	...Could mean, she's warning us...Or something else.  Send her 
	another query...new code only.

INTERIOR SARAH'S ROOM - NIGHT

She is throwing down her pencil in frustration.

			SARAH
	Well, that doesn't make any sense!  Now I can't even work the 
	code book.  Great spy I am...
		(the real truth)
	That's _my_ dress!

CUT TO

EXTERIOR OCEAN - DAY - PROCESS

Open and empty.  We hear the splashing of paddles and a war canoe drifts 
into the picture, being paddled by five lovely native girls, including Nollie.  
Willie sits in the bow, mopping his forehead, a bit impatient with the 
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.

			NOLLIE
	He got swallowed....

			WILLIE
	Well, yes, at first...But, then, the Lord protected...Perhaps that is 
	not the best lesson.  Why don't we sing a hymn.  That would be 
	good.
		(singing lustily)
	'Onward Christian Soldiers....'

A muffled, explosive roar of air and water begins to swell in volume 
nearby.  The girls raise their paddles out of the water, staring hypnotically 
at the water.  Willie stops singing, getting no response from the girls.

			WILLIE
		(continuing)
	We sing for the glory of God, now.  Let me hear....

Suddenly, Nollie stands, pointing over Willie's shoulder.  The other girls 
scream, panicking.

			NOLLIE
	Katarangura!  It's him!

THEIR POINT OF VIEW - THE WATER - PROCESS

It is beginning to boil, great volumes of air frothing a large section of the 
surface.  The roar becomes deafening.  All the girls begin to cry 
"Katarangura."

BACK ON CANOE - PROCESS

Willie sees the churning water, but is not terribly concerned.  The girls 
however are in a state of hysteria, others standing with Nollie, rocking the 
canoe dangerously.  Willie holds on for dear life, afraid of being dumped 
into the water.

			WILLIE
	Girls!..Control yourselves.  There is nothing to fear.  Believe me.

No use.  Nollie and the others furiously begin to back paddle.  Willie barely 
is able to keep the canoe from overturning.

WILLIE'S POINT OF VIEW - THE WATER - PROCESS

A U-boat is surfacing, source of the disruption in the water.

			WILLIE
		(continuing; to himself)
	There is no such thing as Katarangura.

					FADE OUT

			_END OF ACT TWO_


			_ACT THREE_

FADE IN

EXTERIOR OCEAN - U-BOAT - DAY - PROCESS

It is riding the gentle swell.  A German sailor mans a 105mm deck gun for 
possible intruders.  Willie has climbed aboard to join Commander Staeffel 
on the conning tower.  Lookouts are above.

ON WILLIE AND STAEFFEL - PROCESS

Staeffel gives Willie a stiff-armed salute.

			STAEFFEL
	Welcome...'Reverend.'  Heil Hitler.

Willie pointedly returns a Wehrmacht salute.

			STAEFFEL
	You came all the way from Boragora in that?

Willie looks down at the canoe.  Nollie and the other girls have calmed 
down, looking sullen but delightful in their sarongs.

			WILLIE
	It may be primitive, but it has a certain charm.

			STAEFFEL
	Aren't you compromising yourself by coming here with these 
	natives?

			WILLIE
	I told them this is God's work...I tell them quite a few things are 
	God's work.  But, I did not make the trip to discuss my techniques, 
	Commander Staeffel.  By sinking the Shima Maru you have also 
	sunk a vital mission of mine.  Why?

			STAEFFEL
	Orders...I am to prevent the French from garrisoning the 
	Marivellas without being discovered.  No more...no less.

			WILLIE
	And you didn't even think to consult me?

			STAEFFEL
	Would it have mattered?  The Shima Maru was loaded with French 
	supplies and ammunition.  She had to go down.

			WILLIE
	But, she didn't.  The ship is grounded on a reef for all the world to 
	see.

			STAEFFEL
	Temporarily.  Is that all you wanted to tell me?

			WILLIE
		(conspiratorially)
	The natives are attributing the sinking to a legendary sea monster.  
	We might avoid blame for this if we could do something to 
	enhance this impression.

			STAEFFEL
		(mocking laugh)
	I will not waste my time with such nonsense.

Willie stiffens at Staeffel's superiority.

			WILLIE
	Then, Commander Staeffel, may I speak frankly?

Staeffel shrugs.

			WILLIE
	Keep this pig boat away from the Shima Maru until I've completed 
	my mission.

			STAEFFEL
		(unruffled)
	Kapitan.  The Shima must come off that reef and sink.  I didn't risk 
	ramming her just to be discovered because of some fluke.

			WILLIE
	But all I need is one day.  Surely you can wait one day before you 
	tow it off the reef.

			STAEFFEL
	Towing won't work.  We tried that last night.

			WILLIE
	Thank God you were not discovered.  Princess Koji, who owns 
	that scow, has threatened to take my life in most horrible ways if 
	she gets any evidence at all that we...you are to blame.  Just stay 
	away.

			STAEFFEL
	I am not in the habit of leaving a job unfinished.  The wreck will 
	be...removed.

			WILLIE
		(huffing)
	Then I must request to use your radio for an appeal to a higher 
	authority.

			STAEFFEL
		(smiles)
	I must disappoint you.  My orders are to maintain radio silence.

Willie skewers Staeffel with a look of utter loathing, then clambers back 
down to stand in the prow of the canoe.  He gazes back up at Staeffel, erect 
and defiant.

			WILLIE
	Berlin shall hear about this!  Paddle, girls!  Back to Boragora!

The girls dig in their paddles and the canoe shoots away from the U-boat.

CUT TO

EXTERIOR PACIFIC SKY - DAY - THE GOOSE - STOCK

Sliding toward us as Jake comes in lower over the water.

			CORKY'S VOICE
	Jake...there!  What's that black thing under the water?

INTERIOR COCKPIT - DAY - ACROSS CORKY TO JAKE - PROCESS

Colleen is standing between them.

			JAKE
	Probably the shadow of a cloud.

			CORKY
	You sure?

			JAKE
	Course I'm sure.

			COLLEEN
		(pointing)
	There she is!

			CORKY
	Boy, she's just hangin' by a hair.

INTERCUT - EXTERIOR REEF - DAY - MATTE AND BLUE SCREEN - 
PROCESS

The Goose buzzes the wreck of the Shima Maru grounded on the reef, most 
of the hull disappearing into the water.

			CORKY
		(continuing)
	And that's the Peleau Trench under us.  It goes down forever.  
	And...
		(hushed)
	...he's probably waiting.

			COLLEEN
	Who's waiting?

			CORKY
	You know.  K-A-T-A-N....

From between the seats, Jack barks once for "no."

			CORKY
		(continuing)
	Ah, yeah...K-A-T-A-R....

ON JAKE

			JAKE
		(fed up)
	Stop it!  Why are you spelling the name of an imaginary octopus?

Corky makes silencing gestures, his agitation increasing.

			CORKY
	Don't...be so loud.  He'll hear you.  He's got arms a mile long 
	Jake...longer.  He doesn't have to be very close to...you know.

			JAKE
		(taking the easy way)
	I'll be quiet, Corky.  And, real careful.  He won't...you 
	know...anybody today.

Colleen laughs and Corky looks worried.

ON THE GOOSE

As she gently lands on the water, we....

DISSOLVE TO

EXTERIOR REEF - DAY

Jake, Colleen, and Jack are approaching the wreck in an inflatable rubber 
raft which Corky is rowing.  The Goose is moored to a small atoll in the 
background.  A stiff wind pressing a storm has come up.  Colleen gives 
Jake a big hug.  Clearly, their relationship has been moving right along.  
Corky ships the oars, the rubber boat right next to the reef and the side of 
the wreck.

			COLLEEN
	Remember your promise.

			JAKE
	One dive to see if there's a safe way inside.  No risks, promise.

			COLLEEN
	Third cabin....

			JAKE
	On the left.  Green metal box.

Jake takes off his shirt, put a pair of bamboo goggles his forehead with a 
rubber strap, picks up a short hand spear and a battery torch.  A clap of 
distant thunder sounds across the water.  Jake ducks under some gear.

ON JAKE

He climbs up the tilted side of the wreck, slipping over the rail with a last 
look back.  Corky gives him a thumbs up.

INTERIOR WRECK - DAY

Dry, but distorted by its angle and general destruction.  Jake works his way 
down some stairs until he reaches the water level.  It's a black, forbidding 
border between this world and another.  Jake puts his goggles in place, deep 
breathes, and steps into the water.

EXTERIOR UNDERWATER - SHIMA MARU WRECK - DAY

We follow Jake as he free dives along the sloping companionway of the 
submerged wreck.  A great section of the hull is stove inward, jagged plates 
and protruding framework making a ragged maw.  Jake pokes his spear into 
the hole softly backlit with daylight, then continues.

INTERCUT - EXTERIOR REEF - DAY - CORKY AND COLLEEN

waiting, checking watches.  The wind is really whipping and the thunder 
booms, closer than before.

INTERIOR UNDERWATER - INSIDE WRECK - DAY - JAKE

shines his way with a battery torch, looking for hazards as he seeks the 
cabin he wants.  The destruction has warped walls and caved in bulkheads.  
The cabin door is hanging from one hinge.  Jake swings the beam of the 
torch inside.  The beam finds, loses, then holds on the body of 
Collingswood, the rictus of death frozen on his face.  As Jake watches, 
perhaps due to the currents stirred up by Jake's swimming, the body turns 
slowly over to reveal the shaft of a knife sticking out of its back.  Jake gulps 
with surprise, about out of air and now fighting it.  He bumps against a 
bulkhead and drops the torch.  Darkness!  A terrible pause, then the torch 
flares to life in Jake's hand.  Disorientated, Jake is frantic to find his way 
out.  He claws his way back along the companionway and wriggles through 
the jagged hole in the hull to freedom.

EXTERIOR REEF - DINGHY - DAY

Corky and Colleen study the water.  Now, the storm is nearly on them.

			COLLEEN
	It's been too long.

			CORKY
	Don't worry about Jake.  He's a good...
		(pointing)
	Hold it!  I see him.

ANGLE TO WATER

Jake pops out of the water like a breaching whale, gulping air, then 
dropping back under.  Without thinking, Corky dives in and immediately 
begins to thrash.  Jake reappears under his own steam to discover Corky in 
trouble.  He puts Corky in a life-saving carry and hauls him to the side of 
the dinghy.  Colleen helps pull them both into the dinghy, visibly relieved.  
Jack is the only one taking it all calmly, in fact, a bit disapprovingly.

IN THE DINGHY

Jake and Corky are gasping for air.  The rain hits.

			COLLEEN
	Thank God.  You were down so long.

			JAKE
	You think it was long up here...
		(remembering)
	Corky!  You don't swim.

			CORKY
	...I forgot.

Jake shakes him lovingly, understanding the panic and concern that sent 
Corky into the water.

ANGLE - PAST JAKE TO SKY

A sizzling bolt of lightning spits out of the black clouds nearly into their 
legs with a deafening report.  Rain pelts them, wind filling Colleen's hair 
before it plasters to her head.  She looks wild and beautiful.  Another 
lightning strike, even closer, and Colleen recoils from it, falling into Jake's 
arms for protection as Corky rows back to shore.

CUT TO

EXTERIOR GARDEN - DAY - CLOSE JAKE AND GIRL - 
FLASHBACK

It could be Colleen throwing herself into Jake's arms as the rain and 
lightning of a summer storm lashes them.

But, as camera widens we realize we are in a garden (the same one as the 
dance scene earlier) and it is not Colleen seeking the shelter of Jake's arms, 
but the same girl he was dancing with.  Laughing, enjoying the excitement 
of the electric storm, Jake and the girl hurry under a gazebo, dripping, 
shivering, then spontaneously clutching each other in a long kiss.  Camera 
racks focus to the rain streaming off the roof of the gazebo.

MATCH CUT TO

EXTERIOR REEF - CAMP - DAY - RAIN

A canvas shelter has been rigged between some palm trees on the atoll, high 
enough to stand under.  A lantern provides enough light to brighten the 
gloom cast by the passing storm.  Constant rain pours off the canvas 
matching the rain off the gazebo.  Thunder rolls in the distance.  Camera 
pulls back to include Jake leaning against a tree, looking out into the rain.  
Corky is stirring dinner in a pot over a small fire of coconut husks.

			JAKE'S VOICE OVER
	Ever try to stop thinking about something...or someone?  It's like 
	trying to stop gambling by going to the race track.  Good luck.  
	Which is exactly what I needed right now.  For some reason a dead 
	man was floating around Colleen's cabin with a knife in his back
	 the size of a propeller blade.  I should've have been reporting it to 
	Louie.  Instead, I was worried that Colleen might be involved.

Corky tastes his cooking and nods approval.

			CORKY
	That oughta do her...How about a little dinner, Jack?

Corky has spooned some onto a plate and offers it to Jack who barks once 
for "no" and retires to a pile of gear.

			CORKY
		(continuing)
	Hey, Jake...here's yours.

Shaken out of his reverie, Jake studies the offered plate, then forces a smile.

			JAKE
	Looks great.
		(beat)
	I think it's your best.
		(beat)
	But, right now, I'm....

			CORKY
	I know, not hungry.  That's all right.

Corky takes the single plate of food to a seat on the gear next to Jack.  But, 
even Corky has no appetite.

			CORKY
	I wish you'd tell me what happened down there.

			JAKE
	I did.  I went down, I looked around, I came up.

			CORKY
	I heard that part.  What you didn't tell me is what you saw that got 
	you so spooked.  The last time I saw you pop out of the water that 
	fast was when you were drunk that time and Louie dared you to 
	dive off the end of the Boragora dock with that old brass helmet of 
	his.  You damn near drowned.

			JAKE
		(chuckles)
	How come, when you so easily forget the day of the week and the
	 name of the president...you can remember stuff like that?

			CORKY
	Because, when you do stupid things I...I just remember, that's all.

There's a beat of shared concern, then Jake looks out at the rain.

			JAKE
	I'll see if Colleen's hungry.

A note in Jake's voice tips Corky as to how distraught his friend is over 
Colleen.

			CORKY
	Hey, Jake...You've kinda flipped for her, haven't you?

			JAKE
		(defensive)
	No.

			CORKY
	She looks like that girl of yours, doesn't she?..The one whose 
	picture you carry around in that oilskin pouch?

Jake stares at Corky a beat, then, hunching into his jacket, ducks out into 
the rain.  We hold on Corky.

			CORKY
		(to himself)
	Yep...she does.

INTERIOR COLLEEN'S TENT - DAY

The rain hammers on the canvas which has been folded over a center pole 
and staked to the ground as a tent for her.  Colleen is resting on a makeshift 
bed.  Jake enters in a rush, shaking off the rain.  Colleen sits bolt upright.

			COLLEEN
	What is it?

Jake has a hard time with this conversation.  We can see his reaction to 
Colleen is now ambivalent, troublesome.

			JAKE
	Ah...there's something I need to ask you.

			COLLEEN
		(the coquette)
	If you have to ask first, it's not what I thought.

			JAKE
		(passing it)
	About Collingswood...wasn't that his name?

			COLLEEN
	The man who drowned?  What about him?

			JAKE
		(looking closely)
	Did he drown?

			COLLEEN
		(no trouble)
	I assume so.  He missed the lifeboats and we never found him.  
	Why?

			JAKE
	I'm gonna call Boragora and tell them we're staying overnight...and 
	also tell them about Collingswood.

Colleen is puzzled, but not alarmed by Jake's line of thought.

			COLLEEN
	Tell them what?

Jake starts to back out of the tent.

			JAKE
	Nothin'.  Don't worry about it.

Colleen reaches out a hand to Jake's shoulder.

			COLLEEN
	Did I tell you how grateful I am that you're going to try for father's 
	box again?

			JAKE
	Dad's got to have his medicine.

			COLLEEN
	Aye...that he does...
		(beat)
	But, you make it sound like such an easy thing.  I think it's much 
	more dangerous that you're letting on...isn't it?

			JAKE
	I'd like to think not.

With this, Jake backs out into the rain leaving Colleen to her thoughts.

EXTERIOR GOOSE - NIGHT

Jake eases into the pilot's chair and flips a few switches.  Lights glow softly 
as the radio tubes warm; Jake is surprised to hear Sarah's voice already 
calling him, although the electrical storm fills the transmission with static 
and break up, which continues throughout.

			SARAH'S VOICE
		(from radio)
	...Cutter's Goose.  Boragora calling Cutter's Goose.  Come in, Jake.

Jake hurriedly slips on his earphones and grabs the mike.

			JAKE
	(into mike)
	o ahead, Sarah.  I'm reading you, but there's a lot of interference.

INTERCUT - BORAGORA DOCK - NIGHT

Sarah is at the crank radio in Corky's shed speaking quietly into the mike.

			SARAH
	Thank goodness, I've been calling you for nearly an hour.  You've 
	got to come home.  You're in danger.
		(beat)
	Did you get that?

			JAKE
	Danger?  What about danger?

			SARAH
	Well I can't tell you over the air.  Just get back here.

			JAKE
	I'm not gonna do that.  I have to dive on the Shima Maru 
	tomorrow.  Now, chances are one in fifty billion that anybody who 
	can speak English is listening to this frequency right now or can 
	even receive it in this junk.  If there's something I need to know, 
	let's hear it.

			SARAH
	It's about the kind of special book I use, you know, the magic book 
	that turns one word into another.

			JAKE
		(gritting his teeth)
	Yeah, I think I follow.

			SARAH
	Collingswood was bringing me a new one, but I didn't know that.  
	My sailor friend got worried when he realized I still had the old 
	book and he started checking.

			JAKE
		(now listening hard)
	And....

			SARAH
	Shaughnessy was sent to get it from Collingswood for his friend, 
	Uncle Adolf.  We think they're IRA agents.

			JAKE
	Irish Republican Army?  How do they figure in?

			SARAH
	The IRA would like nothing better that for Uncle Adolf to get his 
	way with England.  They think Adolf will free Northern Ireland.  
	They'd like to give him my book....

A burst of static cuts their reception completely.

			JAKE
	Sarah...I've got to tell you something...Come in...Sarah....

Sarah suddenly hears footfalls behind her.

SARAH'S POINT OF VIEW - TOWARD HOTEL

Louie is ten paces away walking toward her.  She puts down the mike and 
flips all the buttons off.

			LOUIE
	You've been out here a long time, ma cherie.

			SARAH
	I just don't understand how you can work one of these things...all 
	those watts and volts and things....

This speech has carried her past Louie and back down the dock.  Louie 
crosses to the radio and feels the top of its chassis, instantly burning his 
hand.  He knits his brow, looking at Sarah's retreating form.

CUT TO

EXTERIOR HOTEL COLONNADE - NIGHT

Sarah is strolling along, seemingly innocent.  She pauses at Shaughnessy's 
door and knocks lightly.

			SARAH
	Oh, Mr. Shaughnessy.  It's Sarah.  I just thought I'd check and 
	see...Mr. Shaughnessy?

INTERIOR SHAUGHNESSY'S ROOM - NIGHT

Sarah pokes her head inside and freezes because Shaughnessy's bed is 
stripped of sheets, which are heaped on the bed.  She leans in...then takes a 
few steps into the room.

REVERSE ANGLE

Shaughnessy steps from behind the door and simultaneously kicks it closed 
while dropping a pillowcase over Sarah's head.  He catches the border of 
the pillowcase opening across her mouth and yanks it tight, flicking an 
overhand knot in the ends behind her head.  In one move he has blinded and 
gagged Sarah.  She squirms, reaching around for a way to loosen the 
pillowcase.  Shaughnessy now snatches her arms behind her and pulls her 
toward the bed.

			SHAUGHNESSY
	Well now, lassie, I hope you don't make a habit of lettin' yourself 
	into strange men's rooms uninvited...Not all of them appreciate it.

Easily securing her arms together with one of his meaty hands, 
Shaughnessy grabs a sheet off the bed with his free hand and twists it in the 
air until it is a loose rope which he drops around Sarah and yanks tight.  We 
get the idea that when he's done with tying her up, Sarah will be a long time 
working herself free.  Although Sarah squirms and protests, she can only 
manage a furious squeal around the pillowcase.  He begins hauling her 
toward the closet.

			SHAUGHNESSY
		(continuing)
	Seems me leg has undergone a miraculous healin'.  But, it wouldn't 
	do for the news to get out before I've taken a little...walk.  So, I'll 
	ask you to keep it to yourself.

Shaughnessy forces Sarah to sit in the closet, and drags another sheet off 
the bed which he begins to knot around her legs.  She struggles as the 
camera goes in on her.

EXTERIOR REEF - THE WRECK - DAY

There's still a slight drizzle and a general misty condition surrounding the 
reef.  Jake, Corky, Colleen and Jack are preparing for Jake's dive, Jake 
hyperventilating in preparation.

ON JAKE

He adjusts his goggles.  Close behind him the Shima Maru is groaning and 
creaking as it shifts and grinds on the reef.

			COLLEEN
	She's makin' a terrible racket this mornin', Jake.  Are you sure she's 
	safe?

			JAKE
	After that pounding last night, she's probably got a better seat than 
	ever.

Corky has been studying the water past the wreck.

			CORKY
	See over there...kind of a black shadow...Do you see it?

			JAKE
	Don't start up with Katarangura, okay...It's just another cloud, 
	right, Jack?

Jack barks once, Corky and Jake both stare at him.  Finally, Jake takes his 
spear and his battery torch and climbs onto the wreck.

INTERIOR WRECK - DAY - JAKE

as he works down the ladder toward the water.

EXTERIOR REEF - DAY - ACROSS CORKY TO WATER

He's still studying the water, squinting, trying to see.

			CORKY
		(to Jack)
	I don't think that's a shadow either.  It's really big, too.

			COLLEEN
	Maybe it's part of the reef.

			CORKY
	Reefs don't move.

ON THE WATER - PERISCOPE - DAY - STOCK

slipping along through the waves.

INSERT - PERISCOPE MATTE

The wreck is centered in the cross hairs.

INTERIOR SUBMARINE CONNING TOWER - DAY

Lit dimly by the suffuse red glow of running lights.  Commander Staeffel is 
in the foreground at the periscope, lining up a shot.  Behind him are dials 
and gauges and other submariners.  Staeffel slaps the handles up and barks 
his order.

			STAEFFEL
	Los!

A hand yanks the mechanism to fire a torpedo.

EXTERIOR SUBMERGED U-BOAT - DAY - STOCK

A torpedo bursts from the bow tube trailing bubbles and emitting a high 
electric whine.

EXTERIOR REEF - DAY - CORKY

			CORKY
		(terrified)
	There it is!  Katarangura!

INTERIOR WRECK - DAY

In the stairwell, Jake hears the high-pitched whir of the torpedo growing 
louder.  Realizing what it is, in horror he turns to climb out when:

ON THE TORPEDO

It explodes in a huge ball of bubbles and light, a thunderous detonation.

ON JAKE

The concussion sends him tumbling down the stairs, bouncing off the 
treacherous, jagged wreckage.  The walls tilt around him, moving, and a 
steady sound of the Shima sliding off the reef replaces the boom of the 
torpedo.

EXTERIOR REEF - DAY - CORKY AND COLLEEN

A huge sheet of spray falls across the dinghy.  They try to steady it while 
grabbing the oars and backing away from the destruction.

			CORKY/COLLEEN
	Jake!  Come up, Jake!

But, no sign of Jake while Corky and Colleen watch, horrified, as the Shima 
Maru slides off the reef and under the waves.

					FADE OUT

			_END OF ACT THREE_


			_ACT FOUR_

FADE IN

EXTERIOR UNDERWATER - DAY - THE WRECK - LONG

From above we see that the Shima Maru has come to rest crookedly about 
sixty feet below the surface in a cloud of silt.  Here the water is azure, light 
filled.  But, about a third of the ship protrudes over a sheer drop as black as 
a bottomless lake in hell.

INTERIOR WRECK - DAY - AIR POCKET

A sliver of air caught inside a stateroom, lit dimly by a single porthole 
positioned above.  Jake bursts into the air pocket, gulping lungfuls.  He has 
managed to hold onto his torch.  Something bumps against him and he 
backs away in horror as Collingswood's corpse floats up.

CLOSE ON JAKE

The rapid pressurization as the wreck slid off the reef has given Jake a 
nosebleed.  He wipes his face, then puts the goggles up on his forehead.  
The pressure has forced them around his eyes, making deep red rings, and 
has turned his eyes crimson.  He shuts them to think.

			JAKE'S VOICE OVER
	There were a couple of people sitting on the surface right now who 
	were aching to tell me, 'I told you so.'  Nobody wanted to hear it 
	more than me.  Even if it wasn't a legendary octopus, I was still 
	who knows how deep with a dead man for company.  Lucky thing, 
	too, because this trap only came with air for one.

A low, throbbing hum has been growing into the same hammering sound 
we heard just before the ship was rammed.  Jake presses his face to the 
porthole above.

INTERCUT - JAKE'S POINT OF VIEW - THE DEEP

through the porthole.  A gigantic, murky shadow looms out of the distance.

EXTREME CLOSEUP ON JAKE'S FACE

through the porthole.  His eyes widen under a brow covered with 
perspiration when he realizes the nature of the approaching "monster."  It's 
shadow falls on him.

THE WRECK - WIDE

The dark mass resolves into a submerged U-boat passing within feet of the 
wreck.  It's sides are streaked with rust and it's bottom is matted with 
barnacles and seaweed.

JAKE'S POINT OF VIEW - THE SUB

dominating the scene as it passes by, close enough to count the rivets.  We 
hear the banging rattle of its screws cutting the water.  As quickly as it 
came, the U-boat retreats into the haze until it disappears.

ON JAKE

Threat gone, Jake turns his attention to escape.  Jake takes a coiled line 
from a belt he's wearing around his waist (knife, pry bar, etc.).  He ties one 
end to Collingswood's hand.  Then, after a few breaths, he points the torch 
down into the water and dives.

INTERIOR UNDERWATER - STATEROOM - DAY - JAKE

noses down into the flooded stateroom, bed, chairs, dresser, all heaped on 
the bottom.  He pokes with the beam of his torch until it falls on a small, 
green metal box with a wire handle.  Jake snatches the box and pops back 
into the air pocket.

EXTERIOR REEF - DAY - THE BOAT

Corky is rowing over the area where the Shima had been resting.  Colleen is 
weeping openly.

			COLLEEN
	He's gone!  Oh, sweet Mary!

			CORKY
	Don't talk like that.  It's Jake down there.  He'll find a way up.

Jack barks twice for "yes."

INTERIOR STATEROOM - DAY - JAKE

is filling his lungs, gasping for air.  Goggles in place, he pushes off the side 
of the cabin and dives.

INTERIOR UNDERWATER COMPANIONWAY - DAY

Trailing the line behind him, Jake shoots along the flooded companionway.

INTERIOR UNDERWATER WRECK - JAKE

wriggles out of the hole in the hull, pulling the line with him, and darts for 
the surface.  Camera follows his ascent as he trails bubbles, fighting to 
make the surface on the one breath.

EXTERIOR REEF - DAY

as he bursts out of the water, nearly unconscious, Corky and Colleen are too 
distant to reach him.  Corky doesn't hesitate.  He flops right in the water and 
splashes his way to Jake, swallowing half the Pacific, but this time he has 
thought far enough ahead to have put on a life jacket.  He grabs Jake around 
the waist and they struggle toward the atoll--nearer than the dinghy.  Corky 
hauls Jake onto the beach and they both collapse.  Colleen jumps out of the 
boat, which she has rowed to shore, and wipes some of the blood from 
Jake's face.  Jack is about to follow her out of the boat, but he is distracted 
by something in the palms.

			COLLEEN
	Sweet mother....

			CORKY
	And your eyes, Jake.  They're real red.

			SHAUGHNESSY'S VOICE
	That's what happens when you're in too much of a hurry to get to 
	the top.

They react to the voice.  Jack ducks out of sight in the boat.

THEIR POINT OF VIEW - SHAUGHNESSY

He has emerged from cover and is holding a revolver on them.  His leg is 
stiff and it obviously gives him pain.

			COLLEEN
	How'd you get here?

			SHAUGHNESSY
	Plenty of native transportation for hire.  A bit slower than your 
	friend's seaplane, but steady.

			JAKE
		(to Colleen)
	Aren't you glad to see dear old dad back on his feet again?

			COLLEEN
	He's not my father.

			CORKY
	I don't get it, Jake.

			JAKE
	They're agents...Irish Republican Army.  Seems like everybody's 
	in some army or another these days.

			SHAUGHNESSY
	Stop the palaverin'.  You were supposed to bring a little souvenir 
	back from Davy Jones.

			JAKE
		(standing)
	Sorry...no souvenirs.

			SHAUGHNESSY
	I wonder what you caught on that line.

It trails away from Jake into the water.  Shaughnessy gestures with the gun 
so Jake begins to haul the line in until the green box lifts out of the water, 
tied to the middle of the line.  More line runs down into the water.  Jake 
gives the box to Shaughnessy who hands the gun to Colleen.

			SHAUGHNESSY
	Give your tired old father a hand keepin' law and order here.

Jake continues hauling in line while Shaughnessy lets Colleen cover the 
others; busy as he pries the lid off the box only to find it empty.  Jake is still 
pulling in line.  Shaughnessy throws the box down and a cruel 
purposefulness replaces the customary jolly set of his features.  Wordlessly, 
he takes the gun back from Colleen and points it at Jake.

			SHAUGHNESSY
		(cocks gun)
	I'm only going to ask this once.  Where's the bloody code?

ANGLE TO WATER

Collingswood's body floats to the surface with a soft "bloop," face down; 
the knife in his back is easy to see.  Colleen screams when she sees it.  
Shaughnessy is distracted by her long enough for Jack to charge from his 
hiding place in the boat.  He snaps and hangs onto Shaughnessy's leg while 
Colleen pounds on Shaughnessy, oblivious to the gun.

			COLLEEN
		(furious)
	You said he drowned!

Shaughnessy attempts to evade Colleen, but she's all over him.  The gun is 
waving dangerously.  Jake tries to take advantage of the situation, but the 
gun is too much a threat.  Shaughnessy backhands Colleen, sending her 
sprawling.  Jack hangs on.

			JAKE
	Stand back, Colleen.

But she won't heed the warning.  Shaughnessy has again swung the gun on 
Jake and is an instant away from pulling the trigger when Colleen grabs it.  
The gun fires, and Colleen is hit point blank in the chest; she spins and flies 
backward from the impact of the heavy caliber bullet.  But, she has the gun 
in her hand.

Shaughnessy and Jake dive for the gun simultaneously.  Shaughnessy 
reaches it first, but Jake takes him down with a flying tackle.  Jack stays 
with Colleen while Jake and Shaughnessy tumble in a vicious life and death 
battle.  Corky can't help because the action is so rapid.  They stumble into 
the water and the gun flies out of Shaughnessy's hand.  Jake dives.

UNDERWATER - DAY - JAKE

He kicks and strokes down after the falling gun, retrieving it out of the sand 
and shoots up.  Shaughnessy meets him a few feet below the surface and 
grabs for the gun.  They wrestle, Shaughnessy having more wind than Jake, 
who is now fighting for a breath.  Shaughnessy keeps Jake below the 
surface for an agonizing time.  Finally, Jake manages to swing the gun on 
Shaughnessy and fires.  There is a burst of bubbles as a bullet streaks 
toward and mortally wounds Shaughnessy.  With a frozen expression of 
surprise on his face, Shaughnessy sinks toward the depths.

EXTERIOR SURFACE - DAY - JAKE

rockets out of the water, gasping for air.  He grabs the line attached to 
Collingswood's body and hauls it toward the beach.  Staggering onto the 
sand, Jake takes a small book out of Collingswood's coat pocket.  It is 
wrapped in oil cloth to protect it.

ON CORKY

kneeling beside Colleen.  Jake staggers toward him, eyes on Colleen's inert 
body, looking stricken.  Corky speaks quietly, stunned by the quick events 
and the sudden silence.

			CORKY
	You okay, Jake?

Jake nods and kneels, turning Colleen's face toward him.

			CORKY
		(continuing)
	Did you kill him?

Jake nods again, smoothing Colleen's hair.  Tears are welling up in his 
bloodshot eyes, emotion twisting the muscles in his face.  Jack puts his head 
on Jake's knee, sharing his grief.

			CORKY
		(continuing)
	I'm real sorry, Jake.

Camera pulls back leaving Jake, Corky and Jack to mourn Colleen in 
private on the lonely beach.

DISSOLVE TO

EXTERIOR BORAGORA DOCK - DAY - ESTABLISHING

The Goose is at the dock and the waterfront is quiet in the heat of the day.  
Willie and the girls in the war canoe are paddling toward the foot of the 
dock.  The girls are so tired they can hardly lift their paddles.  Willie steps 
stiffly onto the dock, showing signs of the long, wet trip.

			WILLIE
	Bless you, my children....

The tiger snake drops down in front of Willie.

			TODO'S VOICE
	Do you have a moment?

ANGLE TO INCLUDE TODO AND PRINCESS KOJI

They are waiting behind the cargo.  Todo has a bamboo cane with a hooked 
end he uses to dangle the snake and urge Willie toward them, out of sight of 
the girls.

			WILLIE
	Yah.

			PRINCESS KOJI
	Well, Willie...You will be saddened to know my lovely Shima 
	Maru has slipped beneath the waves.

			WILLIE
	So soon...That is bad news.  Might I ask how did it happen?  I 
	suppose last night's storm....

			PRINCESS KOJI
	No...not the storm.  An explosion.  One of your German torpedoes, 
	perhaps.

			WILLIE
	Or...the munitions you were carrying aboard her for the French?
			(beat)
	Should that fact become known by the Japanese, they might take 
	their business elsewhere.  That could cost you far more than ten 
	million.

			PRINCESS KOJI
	It might at that...Perhaps I will write this loss off to experience.  
	But...not another one, Willie.  Just remember, should your German 
	pals have ideas in that direction...you are not master of all you 
	survey.

Todo and Princess Koji enjoy a good laugh as Willie winces at the thought; 
the tiger snake coiling in front of his eyes.

CUT TO

EXTERIOR THE MONKEY BAR - DAY

Jake, Sarah, Corky and Jack are seated in the shade of the porch, lost in 
their thoughts, drinking beer.  Jake is humming "I Can't Get Started With 
You."  Sarah smiles and puts a comforting hand on his arm.

			SARAH
	Would you like me to add that one to my repertoire?

			JAKE
	I'd rather not hear it for a while, Sarah.

Louie rounds the corner in time to hear this.

			LOUIE
	You'll be lucky to hear anything from this one...singing, that is.
		(to Sarah)
	Where have you been since last night?

			SARAH
	I was kind of tied up.

Louie snorts and continues past them.

			SARAH
		(continuing; to Jake)
	Could you have been serious about Colleen if she...I 
	mean...Sorry...Skip it.

			JAKE
	That's all right.  It's an easy answer.  She was using me...I was 
	using her.

			SARAH
	Are you sure that's all?

Jack barks once for "no."  Jake glares at him.

			JAKE
	Yes, I'm sure.  I want to be sure.  Okay?

			SARAH
		(understanding)
	Okay.

			CORKY
	Hey, Jake...I just got an idea.

			JAKE
	Yeah?

			CORKY
	Maybe Katarangura was watching us all the time, waiting until we 
	went away before he ate the Shima.

			JAKE
	Are you gonna start that again?  It's bunk, Corky, it's hokum.  Why 
	would you think that some kind of giant thing was watching us, 
	waiting until we went away?

CUT TO

UNDERWATER - DAY - THE WRECK

It is slipping slowly, slowly over the edge into the chasm.  Something 
moves in the inky blackness below.  Then, a massive tentacle, mottled grey 
and black, snakes up and around the bow, urging the ship to move faster.  
The wreck comes free and falls over the edge.

			CORKY'S VOICE
	Well, maybe because he likes his privacy...Could be.

ANOTHER ANGLE

We can now see Katarangura waiting patiently on a ledge dwarfing the ship 
which has fallen in front of the monster.  It is as big or bigger than any of 
Corky's exaggerations.

					FREEZE FRAME

					FADE OUT


			_THE END_



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