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"The War Lord"
Original screenplay (Revised, 9.8.66)
by Robert Culp
TEASER
FADE IN:
(1)     EXT. WASHINGTON, D.C. -- DAY
VARIOUS SHOTS TO ESTABLISH.
DISSOLVE THRU:
(2)     INT. HOTEL ROOM -- DAY
Kelly is getting dressed, Scott is on the phone.
SCOTT
(into phone) I love you.
KELLY
Tell her I love her, too.
SCOTT
(into phone) Kelly loves you, too. (small beat) I'm telling you: six o' clock...no later. The plane'll get us there in thirty minutes and we'll take a cab...(small beat) Momma...It's not that expensive!
KELLY
Tell her we're going dutch on the cab.
SCOTT
Just listen, Momma...Kelly and I are going dutch on the cab  (turns to Kelly) Momma wants to know how you like your coq-au-vin?
KELLY
Coq-au-vin?
SCOTT
Since Momma got this In-A-Wall oven she calls chicken coq-au-vin.
KELLY
I like my coq-au-vin fried.
SCOTT
(into phone) He likes it fried.  (small beat)  Momma says she loves you.  (small beat)  Momma, I tell you, six o' clock...We'll be there...nothing's going to stop us. Momma, I don't need a muffler, I'll see you at six o' clock.  (smiles)  Well, all right.  (kiss into the phone)  'Bye.
He hangs up. He turns to see Kelly is dancing and singing a fandango.
(3)     ANOTHER ANGLE
Kelly with a handsome Mexican scarf.
SCOTT
I'm telling you, Mom is not going to wear it.
KELLY
Shall I tell you your trouble, my man? You look upon your Mom as a Mom...not as a woman. I tell you she will not only wear it but she will wear a rose in her teeth.
SCOTT
Mom does that.  (little reminiscent chuckle)  It was on her fortieth birthday. I remember walking into the room; she was staring out of the window with a rose in her teeth.  (small beat)  Pop came home for lunch...saw her standing there...
THE PHONE RINGS. Scott moves to it, as:
SCOTT
(continuing) ...and stayed all day.  (picks up phone)  Hello... (small beat)  Momma, don't you know how expensive it is calling from Philadelphia?  (to Kelly)  She wants to talk to you.
KELLY
Beautiful!
Kelly crosses to the phone, takes it.
KELLY
Mom! I'm wonderful. I can't wait to see you, either. Listen, you didn't have to call just for that. I promise you, nothing...absolutely nothing's going to stand in the way...I'm going to get your boy to you by six o' clock tonight. I promise. And, Scotty'll get me there, too.  (small beat, holds the phone to Scott.)  Tell her you promise.
SCOTT
(into phone)  I promise.
KELLY
(into phone)  Wonderful! 'Bye, Momma.
Kelly hangs up, crosses to the bureau, resumes dressing as:
KELLY
(continuing) It's a lovely lady you got there, man.
SCOTT
And when you're away for eight months...
The phone RINGS. Scott picks it up.
SCOTT
(continuing) Momma, we'll be there...  (stops, then)  Yes, sir.
KELLY
Not Momma.
Scott shakes his head.
SCOTT
When? I'm afraid that's impossible, sir...  (grimaces, holds the phone away from him, then back)  Well, let me explain what I mean, sir.  (miffed, up)  But we live in a democracy, sir, and I want my voice heard! Can't it wait until tomorrow?  (small beat)  Yes, sir. I see, sir. I...Hong Kong, sir?  Yes, we know it well. Yes, we'll be ready to leave sharply at 1600 hours.  (small beat)  Thank you, sir.
He hangs up. Kelly and Scott look at one another. Scott crosses to the telephone, as:
SCOTT
What's the area code number to Philadelphia?
KELLY
Two-one-five.
Scott dials, as:
KELLY
(continuing)  Listen, tell her we'll try to make it...
He can't think when.
SCOTT
Yeah. Sure.  (beat, then into phone with infinite sadness)  Hello, Momma...listen, Momma...
FADE OUT.
END OF TEASER

______________________________________________________

ACT ONE
FADE IN:
(4)     FULL SHOT -- AIRPLANE -- DAY
Clean-line[d] and beautiful, gleaming white in the mid-morning sun; perhaps a Ces[s]na 180. It has settled in on the crude runway and passes CAMERA. PAN with plane. A crowd awaits the approaching plane. Just beyond the crowd and on the right is a village surrounded by a tall fence of barbed wire with a high watchtower at one corner...a familiar sight here, their version of a kibbutz.
(5)     CLOSE SHOTS -- THE CROWD
Faces of Adults and Children, all native except for two white men, both in shirtsleeves. Most of the adult faces are strained, anxious. Some manage smiles. The children are dubious, disinterested or wide-eyed. A bright orange jeep stands nearby.
(6)     FULL SHOT -- THE SCENE
as the plane makes a quarter turn and stops short at the end of the runway. The crowd moves in only slightly. The engines are cut. There is a moment of suspension. There is very little commotion or talk and that in hushed tones. Clearly WE HEAR the omnipresent high-pitched frequency of the INSECTS in the surrounding fields and trees. Several of the native men are in semi-military dress: they carry automatic weapons as inconspicuously as possible. The two White Men smile expectantly, eyes riveted on the closed cockpit of the plane. One of them moves forward, the other taking his cue, following, plucking his wet shirt away from his body as he goes, an unconscious movement.
(7)     CLOSE -- COCKPIT
From the outside. Two figures are in movement inside, no more than silhouettes. The door handle to the cabin turns, clicks, the door swings open.
(8)     FULL TWO -- THE TWO WHITE MEN
As they round the wing tip and move in quickly, looking up PAST CAMERA, excited now, beaming.
(9)     REVERSE -- THEIR POV
Up to the cabin doorway as a YOUNG WOMAN steps out on the wing. She is perhaps thirty-four, thirty-five (Vivien Leigh would fit rather well), quiet, attractive, actually something beyond that into the realm of the really beautiful woman. Po[i]sed for an instant above US, turning, taking it all in with a swift warm glance, she reflects instantly all that she is: English, well-bred, possessed of a high intelligence which is of no earthly use to her and with a stunning degree of chic, straight off those allegedly biographical pages of Vogue. She speaks wealth, long accepted and put aside in favor of quest, search for...something more rewarding all around. She does not appear here in this remote corner in rough, totally practical clothing; neither does she appear in spike-heels. Her slacks, silk blouse, scarf, hunting jacket (admittedly impractical in this heat), suede boots and racing gloves are without fault. And yet, and yet...something is out of place: the South of France, the Tyrol, the misty estates north and west of Balmoral, YES. But, here withal and somehow sadly as WE shall discover, she doesn't make it, doesn't fit. And WE know it. Worse, and even more sadly, so does she. This is MISS KATHERINE FAULKNER, international social figure, disenchanted leader among the jet set, a homeless wanderer, a pauper in the midst of plenty. Her voice, as the beginning of a faulty narration, comes to US over picture. The manner of her "speech" is labored, uneasy, edgy, flat, but not bored. She means what she is saying, quite deeply.
KATHERINE
(v.o.)  When we first arrived here this morning I said to Tommy before we ever got out of the plane, "What a filthy, disgusting place. Look at them, standing there, mindlessly greeting a stranger, in their rags and filth, all as part of a disgusting publicity stunt they don't even understand."
(10)     INT. CONFERENCE ROOM -- IN HONG KONG -- NIGHT
To SEE Kelly and Scott (with others whom WE shall come to know later). Scott leans over to whisper something to Kelly. Kelly, unhappy for whatever reason, shrugs him away. Scott looks at him, turns back to the screen. REPEATED THROUGHOUT: Indication to Kelly's upset.
(11)     THE SCREEN -- FULL TWO -- THE TWO WHITE MEN
grinning broadly now, starting to applaud, turning toward the Crowd, clapping hard, clearly urging the people to join in.
(12)     SHOTS -- THE CROWD
finally getting the message, joining in, applauding with just a touch too much enthusiasm. Even some of the tiniest children get caught up in the idea.
(13)     CLOSE -- KATHERINE
noticing, wincing with minor contempt for crudity of the display, turning back to the Two White Men, rolling her eyes heavenward in a most ladylike manner as if to say: "Lord, see me through this revolting ordeal." PULL BACK TO HOLD FULL SHOT OF PLANE AS SHE STEPS TO THE GROUND GRACEFULLY, Helped not so gracefully by the Two White Men. Tommy, Katherine's co-pilot, puts a foot out on the wing and, in b.g., begins handing down cartons marked medical supplies to Two "Soldiers" who have run in under the wing with a hand-cart into which the cartons are loaded.
(14)     CLOSE THREE -- KATHERINE -- TWO WHITE MEN
as they settle into the orange jeep and start for the drive to the compound (village). It is no more than three hundred yards but the going is slow as the Crowd surges around and over the jeep. Katherine makes a valiant attempt to be warm, charming to "the people," but when an exuberant Woman deposits her baby in Katherine's lap there is a definite bad moment of obvious inner revulsion from Katherine.
KATHERINE
(v.o.)  "How can they bear to touch them," I kept thinking, "these lovely, dedicated young doctors? The country is an open sore." These were my thoughts and more. Much more. Only this morning.
(n.b. Despite the growing conviction that creeps in here and there, her VOICE OVER remains basically that flat monotone of the newsreel speaker intimidated by the microphone.)
(15)     CUTS OF BACI CEREMONY
also referred to as SUKHUAN, "both calling and welcoming the soul," in honor of Katherine. Most of the Crowd is in evidence in b.g., jammed into doors and windows of the large hut, watching the ceremony.
(n.b. Featured prominently is the tying of the cotton threads to Katherine's wrist and the Old Head Man going through elaborate wishes for the honored guest, Katherine.)
KATHERINE
(continuing; v.o.) And then my...  (simple, flat)  ...perhaps my life actually began. The Baci Ceremony called the "calling forth and welcoming of the soul." A welcoming in of the traveler. With each cotton thread tied to the wrist a wish is made for the honored guest. One of them I will always remember: may your life be abundant in every kind, elephants, horses, victuals and wealth.  (quiet, pinched)  Childish, of course, but the...
(16)     CLOSE SHOT -- KATHERINE
sitting outside the rude hospital, children watching timidly in b.g. The sparse trees offer little shade. Katherine is holding hand-mike, actually doing the narration for this film. She is much changed: jacket gone, scarf gone, blouse open at the throat, running perspiration, her hair a mess. But her eyes are clear and steady, her growing plea in dead earnest.
KATHERINE
...last wish was rather lovely: "and all the bright birds of the temple will carry your happiness above you forever." Only a few hours ago my co-pilot and I were on our way to India. Supper in Karachi. Breakfast on the Black Sea. Another lark...among many.
(17)     SERIES OF SHOTS
ABRUPT CUTS OF KATHERINE (AT VARIOUS TIMES DURING THE DAY...SOME EARLIER...SOME LATER THAN THE PREVIOUS SHOT OF HER ACTUALLY DOING THE NARRATION.) HER VOICE goes right on through most of this:
1. Katherine takes off her coat, hands it to Tommy, opens box of candy from the handcart, hands out candy to the children.
2. Katherine and the White Doctors close to one tiny child on cot. Child is heavily bandaged, only one eye showing. Child is listless, disinterested in candy. Katherine looks a question to Doctor, who shakes his head with grim clarity. Katherine's pasted-on smile fades to compassion for a moment. The Child's hand comes up, touching her scarf. Instantly she whips it off and gives it.
3. Katherine washing young Children under a crude shower, getting soaked. She is laughing with the children: a genuine experience, no fake.
KATHERINE
(v.o.)  With one extra stop. Here. At the request of an old friend. Another rather tedious charity commitment. Or so it seemed. Only this morning. My only wish is that his little picture can tell you what I've seen and what I feel, now, in just these short hours. The work of the Doctor Owen Maclean Foundation, throughout Asia, is too much for words to convey.
4. Katherine, several Village Elders, the Two Doctors walking through the Village, sightseeing.
KATHERINE
(v.o.)  Of course, this evening or tomorrow I will be going on. Karachi, Athens, wherever. My world...my familiar world. But I doubt very much if it will...  (softly)  ...ever be quite the same.
Almost immediately, a MAN'S VOICE (Full Studio Quality) continued the narration in quite different, almost jarring manner.  (Lowell Thomas would be perfect.)
LOWELL THOMAS
(v.o.)  So ends the short narration for this little film, recorded by Miss Faulkner that afternoon in far off Laos. Now watch closely and you will see some of the most astonishing...and sadly tragic film footage ever recorded.
(n.b. HAND CAMERA FOR ALL THIS AND MOS)
The sightseeing Group, featuring Katherine and the White Doctor, is moving slowly beneath the trees near the barbed wire bound[a]ry of the compound. Suddenly they all turn sharply, looking off. CAMERA HOLDS THEM a moment then SWISHES CRUDELY to their POV: people running, screaming silently, women grabbing up babies, behind them at the far edge of the village compound, the smoke and falling debris of an explosion. More explosions. Guer[r]illas rushing through downed barbed wire. SWISH BACK to Katherine and Group, stunned, some breaking, running, yelling. SWISH AGAIN TO FENCE, quite close as the wire is snipped from outside and the taunt strands whip away, leaving an opening for more guer[r]illas approaching on the run. CAMERA BACKS UP JERKILY, IS RUN OVER AND TRAMPLED. Reeling, CAMERA SWEEPS SKY, SUN, distorted, foreshortened figures in awkward jerks of CAMERA MOVEMENT. CAMERA is partially rightened just in time to hold the White Doctor slammed to the ground with rifle butt and Two Guer[r]illas laying hands on Katherine. CAMERA JERKS OFF HER to HOLD Guer[r]illa figure coming in OVER LENS with machete in a wild swing. CAMERA is kicked and lies rock still, running out the last footage in the magazine, holding fire spreading through the hospital.
VOICE
(o.s., low, hard)  Turn it off.
(18)     CLOSE -- MAN
This is SIR GUY FAULKNER, Katherine's father.
SIR GUY
(rubbing his eyes, tired, unable to behold more)  We've seen all that concerns us, Gentlemen.  (softly)  Turn it off...please...turn it off.
(19)     FULL SHOT -- INT. OFFICE -- DAY
Several men are in the room, watching the film. The screen goes blank, lights come on, the men move their chairs back in place at a large conference table. Guy Faulkner, an AIDE and another MAN in a light suit sit on one side of the table, confronting a GENERAL and Two COLONELS: the latter are British Army Officers. A STENOGRAPHER is present, plus Kelly and Scott. Sir Guy goes on with quiet, forceful precision.
SIR GUY
There's more, of course. A sales presentation or "pitch" for this Maclean Foundation, whatever it is.
SCOTT
I remember the film...in a motion picture theatre several weeks ago. Dreadful...  (awkward silence)  ...dreadful, sir.
The air hangs heavy, someone clears his throat slightly. Sir Guy raises his huge old head and peers out at Scott.
SIR GUY
As you say, young man, a dreadful thing. And yet, the world is simply crammed full of little mercies, here and there. For example: Yet, she is alive.
KELLY
(startled) Sir? Do you mean your daughter, sir?
SIR GUY
The brash young woman you've just seen. My daughter. The object and point of this meeting.
KELLY
How can you...
The General and Kelly both speak at once. Kelly defers.
GENERAL
(uneasy)  How can you...do you know she is alive, Sir Guy?
Sir Guy glances to his Aide who produces a piece of paper from a folder, handing it across to first Colonel who hands it to the General.
GENERAL
(reading softly)  Good heavens! "Your daughter Katherine is alive and unharmed. She will be returned to you for a consideration of three hundred thousand pounds, British currency of the Realm.
Stunned silence.
KELLY
(to General)  May I look at that?
The General hands him the note
SCOTT
Has there been any further contact?
The Aide hands Sir Guy a sheet of paper.
SIR GUY
Along with the note, there was a suitcase containing certain articles definitely hers. This is the list of articles.  (reads by rote)  "Chronometer, earrings, pilot's license, clothing...jacket, scarf, boots...
SCOTT
Hold it.  (beat)  Well, I don't mean exactly "hold it," I mean...well, she gave them away.
KELLY
Yes, she did.
GENERAL
Gave what away?
SCOTT
The jacket and the scarf. Before the attack. We saw it on the film.
(20)    ANOTHER ANGLE
KELLY
(softly)  If we can believe the film.
SIR GUY
Make your point.
KELLY
Just consider the possibility it's a hoax.
GENERAL
These gentlemen are trained to think that way, sir.
SIR GUY
Very well. Then let's pursue it. If this is a fraud, the implication is that I'm the next victim.
SCOTT
(careful now)  That's right.
Small beat of silence, then:
KELLY
It goes deeper than that.
He turns, fixes Sir Guy with a look, then:
KELLY
(continuing)  I want to tell you flat out, sir, your daughter would be capable of dreaming up something like this.
SIR GUY
(small beat)  You know my daughter.
Kelly doesn't answer.
SIR GUY
(continuing)  You are right, sir, she is capable of it.
Sir Guy turns slowly to the Young Man on his right.
SIR GUY
(continuing; strangely, softly, vicious)  Don't you think so, Mr. Carter?
CARTER purses his lips. Guy turns to the others.
SIR GUY
(continuing)  Mr. Robert Carter, gentlemen, is in public relations; he represents the Maclean Foundation.  (back to Carter)  Let us have your private views in this matter, Mr. Carter.  (softly; deadly)  And if you leave out so much as a comma, I'll see that you spend the next ten years in jail.
CARTER
(gestures [at] Kelly and Scott)  Well, they picked up on it pretty fast. It was a setup. The film is a hoax. I planned it, arranged the whole thing; I was the photographer.
KELLY
On whose authority?
CARTER
My own. The Foundation, Board of Directors, nobody knew about it. My job was to publicize the Foundation: As a fund-raiser this film was a smash. The end seemed to justify the means.
SCOTT
(dry, disgust)  It always does...in the beginning.
CARTER
Miss Faulkner felt the same way. The one thing in the film that isn't a fake is her supposed character transformation. It really happened. There's no way to lie to a camera.  (rapidly now, almost one burst)  We planned that she would disappear for a month, return to civilization and the return would be even more spectacular news than the disappearance. Only she never arrived. Finally, I just couldn't live with it anymore, knowing she was down someplace, possibly in need of help.  (a deep beat)  I flew to London, laid the whole story in front of Miss Faulkner's father. That's all I know.
GENERAL
(after a moment; to Sir Guy)  What is it you want from us, sir?
SIR GUY
I want my daughter, sir. She is being held. Somewhere, by someone...in a foreign country.
GENERAL
(quiet, reserved, now a little worried)  I don't see how it's possible, Sir Guy.
SIR GUY
I am frankly not interested in how you see it, sir.  (boring in with quiet rage)  Your life and world are still ruled from London. The Houses of Parliament are vastly populated with old and dear friends of mine, sir. Most of whom might very well not have been elected without my help.  (low; soft)  Who are you to tell me what's possible? I will foot the bill, sir. Three hundred thousand pounds. You will deliver it and retrieve my daughter.  (brus[que]; flat)  I don't bloody well care if it takes a regiment to do it.
During this last, the General has risen, motioned to his Aide who has quickly restuffed his attache case and now, abruptly, Sir Guy and his Aide, followed by the abashed Mr. Carter, exit the room. Kelly and Scott are surprised to see the General and the two Colonels and the Stenographer rise, seemingly in brusque dismissal. One of the Colonels gathers all of Sir Guy's dossier information from the table, slips it quickly into one folder and shoves it across the table to a small, mousy looking man sitting next to Kelly in dark suit and pipe, who has been expressionless until now. This is Mr. WEAVER, Kelly and Scott's immediate superior in the area.
They leave; Kelly, Scott and Mr. Weaver are left alone in the room. Kelly turns to Weaver who is drumming the top of the table, busily making notes against Sir Guy's dossier.
KELLY
Sir? Everybody has just left the room, sir. Except us.
WEAVER
Um-hum.  (around his drumming)  We are holding the bag, gentlemen.
KELLY
(disbelief) Full of their chestnuts. Why?
WEAVER
We're in because we begged to be let in. They would have refused the Old Man, of course; the British Army can't submit to blackmail.
SCOTT
But we can!
WEAVER
We haven't any choice! Unless he gets his way, Sir Guy will blow the whistle on this whole mess. The Owen Maclean Foundation is doing us more good on a quiet, steady basis than everything else we've got in Southeast Asia. It is an image beyond price. If it gets out that this film is phony, the entire Foundation is wiped out in one burst of headlines.
He shoves the fat dossier across to Kelly and Scott.
WEAVER
(continuing)  You get that girl out at any cost.
SNAP CUT TO:
(21)     LONG SHOT -- OPEN SKIES (STOCK)
An old DC-3 rumbles through the night sky.

(22)     INT. PLANE -- NIGHT
The plane is stripped down for cargo. Kelly and Scott sit in semi-comfort, backs to bulkhead. They are wearing ordinary traveling clothes. Both have on intercom head sets and mikes, presumably connected throughout the plane's intercom system. Beside them are similar traveling bags. The Pilot and Navigator can be seen forward, their backs dimly lit. They wear similar head sets. There is a small overhead light. Kelly studies note in hand. Finally, shakes his head and gives note to Scott.  (n.b. WE HEAR their voices in conversational tone through filter of their head sets)
KELLY
Read it again. Out loud.
SCOTT
(reading)  "Charter private plane at Hong Kong Airport from Wong and Sons. Fly to Bangkok. You will be contacted."
He shrugs.
SCOTT
(continuing)  That's all of it.
KELLY
Contacted where? How? Flying blind in the middle of the night with a couple of  Fu Manchu heavies who don't speak a word of English.
SCOTT
Or anything else.
WE HEAR a faint chuckle.
KELLY
What's funny?
SCOTT
Huh?
They look at each other.
VOICE
(through intercom)  Fee...fi...fo...fum. I smell the blood of an Englishman. Good evening, gentlemen. My name is Chuang.
Both Kelly and Scott's heads snap around staring forward. Without turning, the figure of the co-pilot in starboard seat raised one gloved finger, waggling it, identifies himself as he continues to talk.
VOICE
I am your navigator and guide. I have been with you for most of this past week at a distance. May I suggest if you have warmer clothing, put it on now. To avoid Red Chinese air lanes we must pass quite high to the south over the Himalayas.
(23)     CLOSE THREE QUARTER REAR ANGLE -- CHUANG
in starboard seat of cockpit. Slowly he turns to look over his s[h]oulder and WE SEE his face for the first time. He is Chinese, rather handsome with great, quiet, dignity, and at the moment a slight glint of amusement in his eye.
CHUANG
If you need sleep, now is the time. We have a long journey before us. And for you, the journey back will be longer still.
(24)     CLOSE TWO -- KELLY AND SCOTT
Stunned.
FADE OUT.
END OF ACT ONE

__________________________________________________________

ACT TWO
FADE IN:
(24 thru 31) OMITTED
(32)     DC-3 -- NIGHT (STOCK)
(33)     LONG SHOT -- EXT. NIGHT -- JUNGLE (STOCK) (OPTIONAL)
as three chutes show white in the distance, floating down toward the trees.
DISSOLVE TO:
(34)     CLOSE THREE -- KELLY, SCOTT AND CHUANG-TZU -- JUNGLE
burying the chutes, just finishing.
KELLY
Now...first, the boat.
CHUANG
It is there, Mr. Robinson, I promise you. Come.
SCOTT
Wonderful. Let's go see it.
CHUANG
I speak for the General. The General's word is sufficient in all things. Come.
But, he moves out, ahead of Kelly and Scott.
(35)     CLOSE -- RIVERBANK -- THE WATER'S EDGE
as Kelly and Scott and Chuang slip into FRAME and freeze, quite still, listening. They are all breathing quickly, quite hidden in the underbrush that arches over them into the water. Scott examines a collapsed rubber boat, hidden there, tests CO2 bottle.
CHUANG
(softly) Below here the water is swift for a hundred miles. In two days, three if you have poor luck, you will be in Central Burma. Quite safe.
THERE IS A SOUND ABOVE THEM ON THE BANK, SOMEONE APPROACHING. All three men freeze and look up.
(36)     THEIR POV
Four Chinese Soldiers file past: a patrol.
(37)     CLOSE -- ANGLE -- KELLY, SCOTT, CHUANG
SCOTT
(when patrol is gone)  Chinese.
CHUANG
Searching for the General. They know he is here...  (vague smile)  ...somewhere.
SCOTT
In Burma? Where do they get the authority?
CHUANG
They want the General very badly. They take the authority.
They move out quietly.
(38)     LONG SHOT -- MOUNTAIN JUNGLE -- NIGHT -- BRIGHT MOON (STOCK)
This is the foremost primeval, one of the world's roofs. Exotic, brooding, silent. OVER ALL IS HEARD THE ROAR OF A GREAT CAT, THE SOUND OF HIS BALEFUL CONTEMPT SHATTERING AND NOT FAR OFF. In the distance, the mountains fall away toward the flatlands of North Burma.
(39)     CLOSE KELLY
moving like the cat we have just heard, he passes. HOLD ON SCOTT FOLLOWING. PAN HIM TO A FULL THREE AS they go away.
(40)     LOW SHOT -- SHOOTING UP -- KELLY, SCOTT, CHUANG
MOVING TOWARD CAMERA. They stop, still listening, hearing voices and movement faintly in the thin air. Kelly raises a hand; Chuang looks to him as he points off to their left. Chuang nods, cautioning even more rigid silence. They start forward again, CAMERA TRUCKING BACKWARD, HOLDING THEM. Suddenly Kelly and Scott stop, their mouths mentally dropping open at what they see directly in front of them: they might have somewhat the same sensation stumbling over the toes of King Kong and looking up. Slowly now they all move forward, PAST CAMERA, WHICH PANS THEM TO HOLD A GREAT DARK MASS BEFORE THEM. A building of some kind with a great, yawning entrance, forty feet high, the massive doors hanging open (CAN BE SHOT USING STAGE DOORS, NIGHT FOR NIGHT). Light flickers dimly from within.
(41)     CLOSE -- KELLY AND SCOTT
Their eyes travel up this massive structure to find its top.
(42)     THEIR POV (STOCK?) (OPTIONAL)
The unmistak[e]able silhouette of a huge Chinese Temple against the night sky.
(43)     ACROSS THEM TO CHUANG
Kelly still looking up. Scott and Chuang are suddenly quite worried at the proximity of the voices and movement of the patrol. Scott touches Kelly's arm and quickly they move toward the temple across the small clearing.
(44 thru 72)     OMIT[TED]
(73)     INT. TEMPLE -- DARK INTERIOR
A room of some kind but so hard to make out in the dark as they enter that Scott leaves the door open to get the faint, uneven light from the torches in the passage outside. Both men are breathing hard, tense, on guard, weapons at the ready. Chuang moves across the room and is lost instantly in the darkness. PUSH IN ON KELLY AND SCOTT in the light from the doorway in b.g.
CHUANG'S VOICE
(soft, quiet) This Temple was sacked, the Monks who lived here murdered several years ago. All for the gold leaf on the statuary.
KELLY
(deadly)  Let's have a little light, pally.
CHUANG'S VOICE
Priceless treasures of Chinese history, all gone.
SCOTT
(weapon coming up)  I'm going to count to three, Charlie, and then that corner of the room is gonna blow away.
CHUANG'S VOICE
A gunshot here would bring half of the regiment down on us in a matter of minutes. May I suggest you do not wager your ignorance of the situation against all of our lives, the girl included? Shut the door.  (a command)  Shut the door!!
Scott kicks the door shut. IMMEDIATELY A GONG SOUNDS. Door latches click open; a crack of light appears across Kelly's and Scott's faces. It widens.
(74)     THEIR POV
Double doors are opened by Two Armed Guards. Beyond them is a large, brightly lit room, a salon. A LUTE IS HEARD, A WOMAN SINGING SOFTLY. The Armed Guards stand at attention. Against the light of the next room, this room is still in pitch darkness. Chuang cannot be seen.
CHUANG'S VOICE
Now, gentlemen. If you will wait in the next room.
KELLY
Where's the girl?
CHUANG'S VOICE
She is there.
SCOTT
And the General?
CHUANG'S VOICE
(after a moment)  He will join you shortly.
CAMERA PANS KELLY AND SCOTT AS THEY CROSS TO THE DOUBLE DOORS, enter the room, move into it.
(75)     INT. THE MAIN SALON -- KELLY AND SCOTT
as they come down two steps, past the end of a long dining table and INTO CAMERA, staring past. In b.g. are the open double doors, the room beyond still black. A middle-aged Woman on cushions is singing, playing the lute. At the far end of the room are Two Men and a Woman, knelt before a tea service. The Two Men are Zen teachers, instructing the woman, who's back is to us, in the Zen manner of the tea service. Kelly approaches them, stops, looking down.
(76)     KELLY POV -- DOWN SHOT
as the Woman executes a movement most gracefully.
(77)     CLOSE -- KELLY
KELLY
(softly)  I beg your pardon...
(78)     CLOSE -- THE WOMAN
as she turns, looking up. She is not Chinese; it is Katherine Faulkner.
(79)     THE SCENE
Kelly just stares, stunned, the wind going right out of him, everything going. She is very, very beautiful; calm, serene, scarcely resembling the girl Kelly knew so well...or thought he did.
KELLY
(small)  Kat.
KATHERINE
Kelly.
Now she looks to Scott, to their clothing, the weapons, taking it all in. Her only reaction is gentle surprise. She rises gracefully, nods to Scott  (it is almost a bow).
KELLY'S VOICE
(over)  His name is Scott.
KATHERINE
Scott.
SCOTT
(amazed with Kelly)  Hi.
Her eyes are drawn powerfully to the open double doors, her mouth parted slightly in breathless anticipation.
KATHERINE
You must be tired. May I show you to your rooms?  (vague; eyes riveted on the doors)  I'm afraid they are not all they might be; we are a bit cramped for space at the moment.
KELLY
No, that's all right, we...uh...
He trails off, glancing at Scott.
KATHERINE
Was the trip difficult?
KELLY
(hung up, confused by her attitude)  No...well, yes, a little...
KATHERINE
(suddenly worried)  No trouble, though.
KELLY
Well, nothing that...uh...  (breaks off, staring at her; finally)  Honey, Scotty and I work for American Intelligence. Even when we...uh...you know.
KATHERINE
(gentle, sweet)  Imagine. I would never have guessed [th]at about you, Kelly. The two of you must lead exciting lives.
KELLY
Yeah, well, we manage...
He moves close; quiet, worried.
KELLY
(continuing)  Kat, what is it?
She is close, so close to him, the curve of that fa[b]ulous neck, the hair...the pull for Kelly is powerful. Slowly she turns up to him with a gentle smile.
KATHERINE
(searching his face)  Oh, Kelly!
KELLY
What's happened?
KATHERINE
Everything.
KELLY
Kat, we've come to get you out.
KATHERINE
(gently)  My Father sent you.
KELLY
In a roundabout way, yes.
KATHERINE
With the money.
Kelly just stares at her.
KATHERINE
(continuing)  For the General.
KELLY
The...ransom. Yes.
KATHERINE
Ransom. I have been held for ransom.
KELLY
(A trifle hard)  Kat, this isn't another game, is it?
KATHERINE
The full amount? A half-million?
KELLY
I didn't count it. I imagine. Your Father wouldn't take the chance.
KATHERINE
(soft, distant)  I've been of some value.
KELLY
You've what?
KATHERINE
(turns those clear lamps on him again)  I'm not the same, Kel.
KELLY
(nettled)  Frankly, I don't know what you are, sweetheart.  (small, hard)  But then I never did.
KATHERINE
My poor, sweet Kelly.  (close, so close; sweet sadness for all in the world that's been lost)  So long ago. I adored you, you know. With all my being.
The simplicity, the lack of artifice in this tiny self-revealing moment, combined with her beauty, is enough to make any man weak in the knees. For Kelly the moment, chemistry is not easy to take.
KATHERINE
(continuing; flatter)  For roughly two weeks, wasn't it? You deserved so much better.
Slowly she turns away a slight frown.
KATHERINE
(continuing)  So far to come. For nothing.
Kelly and Scott exchange puzzled glances.
KELLY
Where is this...General?
A GONG SOUNDS SOFTLY.
KATHERINE
(sharp, intake of breath)  He comes now.
KELLY
Kat, I don't get it. You're going home.
Slowly, as if floating, she moves away from Kelly toward the dark double doorway at the far end of the room (where the boys entered).
KATHERINE
(a murmur)  No, thank you.  (eyes shining)  I can't.
Kelly and Scott look past her to the doorway...as Chuang-Tzu steps into the room. The jump suit is gone, in its place a faultless, tasteful uniform. He looks calmly out across the room to Katherine. Two Servants appear behind him, begin helping him on with a gorgeous robe: Chuang-Tzu is the General. Katherine continues her glide toward him. Chuang looks down at the girl as she approaches.
(80)     OVER CHUANG'S SHOULDER TO KATHERINE
as she mounts the steps and moves lightly into the circle of his arms.
(81)     CLOSE -- KATHERINE
her profile, pressed against General Chuang, her eyes closed in serene content[ment].
KATHERINE
(softly)  I have been of some value.
FADE OUT
END OF ACT TWO

___________________________________________________________

ACT THREE
FADE IN:
(82)     LONG SHOT -- RE-ESTABLISHING TEMPLE SILHOUETTE -- NIGHT
(82A)     INT. SMALL ROOM
The General sits in his bath, a raised, wooden affair, built-in. The room is small, close, the steam from the bath rises in clouds. CAMERA HOLDS HIS PROFILE as Scott is admitted through door in b.g. by armed Guard, who then closes the door, remaining outside. NOW AND THEN HANDS ENTER FRAME near the General, tending, washing [him].
CHUANG
Mr. Scott. You are quite sure you will not join me? This is the only luxury I permit myself.
SCOTT
No, thank you.  (indicating his gun)  It tends to rust.
CHUANG
(smiles)  You still do not trust me.
SCOTT
Should I?
CHUANG
(in good humor)  No.
Scott sits.
CHUANG
(continuing)  What is the plan, Mr. Scott?
SCOTT
You have a small roof garden.
CHUANG
A terrace high on the side of the building. Yes.
SCOTT
Can it be seen from the ground?
CHUANG
No. Although it is not safe to stand erect in it.
SCOTT
We'll radio directions to Bangkok. Just before dawn a light plane with Thai markings will pass over. I presume the Chinese patrols in the area will not fire on it.
CHUANG
No.
SCOTT
If they see me in the garden and I signal correctly, they will make a second pass dropping the money.
CHUANG
After the money is dropped, what is to prevent me from doing something dreadful and outrageous, like your Queen of Hearts...and cutting off all your heads?
SCOTT
Is that a hypothetical question?
CHUANG
(a deadly twinkle)  At the moment.
SCOTT
Have you ever seen an ostrich egg?
Chuang nods.
SCOTT
(continuing)  If I don't deliver the girl in Bangkok in three days, on the fourth day a great silver bird will come out of the sky and drop an egg on your lap, about the size of an ostrich egg. The seismographs in Tokyo and Moscow won't record it, but you'll be a small explosion, General, no more than a thousand feet tall. And this temple will be a hole in the ground. Miss Faulkner's father is involved in the manufacture of warheads that range from tons to megatons. That is not hypothesis, General, that is fact. And he's rich enough to hire mercenaries to do anything he wants.
Scott has said all this quite simply. Chuang nods, his thoughts seemingly far away. Scott rises, starts for the door, assuming the interview is at an end.
CHUANG
Mr. Scott.
Scott stops.
CHUANG
(continuing)  Does my relationship with Miss Faulkner surprise you?
SCOTT
General, I'll tell you; everything about this one surprises me. I don't believe more than about half of what I've seen with my own eyes. And it's not over yet.
CHUANG
(soft, distant)  No. It is not over yet.  (to Scott, directly)  Do you understand it?
SCOTT
(after a moment; and he's tried to)  No.
CHUANG
(quietly)  Neither do I. It is a great mystery to me.  (after a moment)  The plan to obtain the money from her father was hers, did you know that?
SCOTT
No.
CHUANG
Completely.  (another moment: the steam rises silently)  I know nothing of women, Mr. Scott. They are not my...cup of tea. I am what you used to call in your country, a "war-lord," Mr. Scott. A relic of a very, very old feudal system in my country. There are many men like myself, still living, but gone sadly out of fashion now, hunted men, fleeing over the face of the land that was once theirs. Living in the ground like blind moles, harsh, corrupt, without scruple, without morality, totally savage in their will to survive, tasting defeat and loss in all things. Tell me, what is there in this girl, that could open to such a creature?
Chuang stares pensively at nothing through the swirling, silent steam. Scott watches him for a moment, then shakes his head in wonder and respect.
SCOTT
Will she go away from you?
CHUANG
(softly, eyes almost closed)  That is not the question.  (probing deeply into himself, perhaps for the first time)  Should I keep her...and let your bird drop its egg...?
As this remarkable statement sinks in, Scott just stares at this astonishing man.
(83)     LONG SHOT -- RE-ESTABLISHING JUNGLE -- DAWN (STOCK)
(84)     INT. -- A SILENT CHAMBER -- DAWN
High in the temple structure, small, a sleeping chamber. CAMERA is close on the face of Katherine asleep. PULL BACK slowly. The General sits very still on the edge of Katherine's bed watching her sleep. The only motion in the room is the gentle movement of the curtains at the window, beyond which is the night of the sky. A servant enters with tea. The General motions for silence as he takes a tiny cup of tea and the Servant exits. As he sips, starts to rise, Katherine's hand closes softly over his arm. He looks down at her surprised. She is awake, looking up at him clear-eyed.
KATHERINE
(almost a whisper; a discovery)  I have hated words all my life.  (a wonder)  I never knew why. I speak and I am understood after a fashion in seventeen countries.  (eyes brimming)  All the words of the earth. Now they are gone. Finally  (finally)  What a relief you are.  (very simply)  My Lord.
He looks at her a moment. Rises, goes to the window.
CHUANG
(finally)  I cannot sell silks.
KATHERINE
(softly)  I know.
CHUANG
I am not a merchant. I cannot buy or sell. What I am is my profession.
KATHERINE
I know.
CHUANG
Here and now until it ends.
KATHERINE
I know.
CHUANG
(softly; an echo)  You know.
She rises with infinite grace, takes him his robe, gently places it about his shoulders.
KATHERINE
(simple; calm)  You took me. By force. I have never been taken before. By anything. Or anyone. You have created a woman where there was before only a running child.
CHUANG
My world is in ruins. My China is gone for all time. Ground into history. I survive here by habit, by rote...asleep. Sleeping, any pain...any loss is possible to bear.
KATHERINE
(a whisper)  I will not wake you, My Lord. I will love you and serve you...only.
She is serene. He is not.
(85 & 86)     OMIT[TED]
(87)     EXT. TERRACE -- DAY
pigeons and doves feeding on brick tiles, alert, tentative, the mutedd bubbling of their calls all around. One of the doves moves: PAN WITH IT TO HOLD A WOMAN'S HAND, a few grains of seed in her open palm. The dove takes one grain, another. PULL BACK TO HOLD THIS WOMAN. Katherine. In b.g. is Kelly, crouched on his heels, watching her, his back to the doorjamb leading into the main salon, seen before. This is a terrace garden jutting out high on the side of the temple. A chest-high parapet runs all around the terrace; sunset sky in b.g. The terrace is beautiful, a formal Chinese garden but old and broken, a ruin.
KELLY
(very quiet)  "And the temple birds will carry your happiness above you forever."
She looks to him, startled.
KELLY
(continuing)  I saw the film.
She glances down at her right wrist, raises it slowly to examine it: on her wrist still are the white cotton threads WE SAW tied there in the OPENING SEQUENCE.
KATHERINE
(a quiet smile)  You must wear them until they simply fall off, you know. If you remove them, the wishes won't come true.
KELLY
It's made quite a stir all over the world. To put it mildly, you've become an object of much speculation.
KATHERINE
Good or bad?
KELLY
Marvelous, I guess. Certainly you accomplished what you set out to do for the Foundation. A hundred times over.
KATHERINE
(softly thoughtful)  Good.
KELLY
That depends.
KATHERINE
On what?
KELLY
You. If Scotty and I don't bring you back, your Father's going to blow the whistle on the whole thing. He knows it was a fraud. He's sworn to release the story. Everything. It will destroy the Foundation.
KATHERINE
(sick)  Oh, no. You mustn't let him, Kel. You mustn't.
KELLY
All right. Come out with us.
KATHERINE
(softly, shaking her head)  No.
KELLY
(quiet, hard)  What am I supposed to tell your Father?  (a glance around)  How do I tell him about this?
KATHERINE
Don't. Don't bother.
KELLY
(an edge)  Don't bother? You want me to double-cross your Father, our Government, and be a party to blackmail on a fantastic scale, but it's all right, it shouldn't bother anybody.
She is very still, withdrawn. Kelly just stares at her hard, as if trying to crack through to her with his eyes.
KELLY
(continuing)  Anything goes, right? To gratify one more whim in your life.
KATHERINE
(quiet control)  I simply mean he wouldn't understand.
KELLY
Understand what? Another infatuation? Another headlong flight of romantic caprice?  (pointed)  Even I can understand that.
KATHERINE
Just tell him I'm dead. He can't blame you for that.
She has said it so simply, with such resigned candor and grace that Kelly is shaken, worried.
KATHERINE
(continuing)  In time, when it's legally established that I'm dead, all my trust funds will revert to my Father. Roughly the same amount. More, actually. So, you see, it's not all quite as unfair as it seems.
KELLY
It takes years to establish a disappearance as a death.
KATHERINE
Yes, I know.  (looking out at the evening sky)  He was in England, you know. Several years, actually: Cambridge. We might have met.  (softly)  How pointless it would have been.
KELLY
(sick; tired)  Kat...in two months you'll be pining for the South of France. One morning you'll wake up and realize that while you're living underground with a man whose problems you can't possibly understand, ever...in Portofino it's the Height of the Season. What happens then? When you grow tired of the game?
KATHERINE
(holding up wrist; touching on thread)  This wish was for grace and strength in all things.
She smiles.
KELLY
(flat)  I don't believe in prophesy.
KATHERINE
(gentle, sure)  No. Neither do I.
Suddenly the birds rise in a clatter as Scott appears in the doorway beside Kelly. Inside the salon the General can be seen talking to an Older Man. Katherine rises in one smooth flow and goes in to the General.
SCOTT
(quiet, to Kelly)  You talk her out of it?
Both of them watch Katherine moving toward the General. Kelly is deeply moved, just shakes his head.
FADE OUT.
END OF ACT THREE

___________________________________________________________

ACT FOUR
FADE IN:
(88)     INT. -- MAIN SALON -- NIGHT
Kelly, Scott, Katherine and Chuang have just finished supper. It is getting late. As Katherine speaks, Chuang notices a guard step into the room; quietly he rises, goes to the guard, speaking to him quietly in b.g.
KATHERINE
WE never knew what it was. It all happened too fast. Tommy tried to set us down, we both tried. But it was no good. I was unconscious. One of the General's patrols was foraging for food in the area.
She watches Chuang in conversation with the guard.
KATHERINE
(continuing)
Tommy tried to resist when they found us. For my sake, really. He was very brave. Be sure you tell my father: he died trying to save me...  (softly, watching Chuang across the room)  ...from a fate worse than death. Poor Tommy.
She looks at her hands, slowly takes a sip of tea; she seems puzzled.
KATHERINE
(continuing)  Nearly everything in this world is such a sad waste. I'm sorry, I'm afraid Ii'm being a very dull hostess.
KELLY
(gentle smile)  Well, how can you help ot, honey...you lead such a dull life.
Chuang finishes with the guard, sends him out, returns to the others. Katherine watches him come. She seems to be quite tired.
KATHERINE
I'm afraid the truth is...I've slept rather badly this past week.
The General sits beside her on cushions. The supper things have been removed by now and a service for tea is placed before them.
SCOTT
(referring to guard)  Anything wrong?
CHUANG
The patrol that followed us in. One of them is still alive.
KATHERINE
Is he badly hurt?
CHUANG
It is of no consequence.
KATHERINE
What will you do with him?
Slowly he looks at her coldly. She drops her eyes.
KATHERINE
(continuing)  I'm sorry. I didn't mean to question your judgment...(almost an after-thought, very, very quietly)  my lord.
A servant enters, holds a small tr[a]y with brandy decanter and glasses before the General.
CHUANG
Gentlemen, one of the few really civilized customs I discovered during my stay in England...will you join me?
Kelly accepts, Scott declines; the brandy is poured, they take their glasses.
KATHERINE
It does seem a shame to pass the opportunity to question him.
CHUANG
No.
KATHERINE
First hand information is so difficult to come by.
CHUANG
No.
KATHERINE
I will do it for you, my lord.
CHUANG
Be still or leave us.
KATHERINE
You have ordered him executed.
CHUANG
Yes.
The air suddenly becomes charged, uncomfortable; Scott and Kelly glance at each other; after a moment of suspension Katherine hits a small gong standing on the floor beside the General, then quickly shrinks, bowing her head. The guard steps in again and comes to them.
KATHERINE
(a whisper)  Please, I beg you. Tell him.
CHUANG
Tell him what?
KATHERINE
(quiet simplicity)  The man is hurt. He can do you no harm. Let him live.
CHUANG
(bitter cold)  Why should it matter to you?
During this battle of personal agony for both contestants, neither changes his style or footwork: the girl becomes quieter, more submissive to his will and anger as she towers above him in her grace. The General simply becomes colder and colder...as he strikes back at her for being right.
CHUANG
You feel with [Buddha] that all life is sacred, most of all man's life.
KATHERINE
Yes.
CHUANG
Nothing is sacred, least of all the life of man.
She looks up at him for the first time, destroyed by the end in sight, sensed. He is shaken for a moment at what he sees in her eyes. Kelly and Scott watch this display with growing apprehension and disgust for the General. Katherine is fighting her growing fatigue.
KATHERINE
And compassion?
CHUANG
A motto. A luxury I cannot afford.
She lowers her head, her eyes dull, seeing nothing...and finally they close.
CHUANG
What can one do with such ap[p]alling morality?
KATHERINE
(mute, distant)  I beg you on my knees. I do not care what happens to one enemy soldier. I care what it does to you each time you kill a man. Needlessly.
CHUANG
I have no facilities for prisoners.
KATHERINE
You are not a butcher.
CHUANG
There is one empty room. Shall I put him there?
KATHERINE
You frighten me so.
CHUANG
I will put him in the empty room. Would you like that?
KATHERINE
What room?
CHUANG
Yours. I will put him in your room. But then there will be no room for you. Would you like that? He will take your place.
Scott and Kelly are getting very righteous, hating this bastard. Katherine closes her eyes tightly in the complete pain of ceasing to exist.
KATHERINE
(small)  Oh...no.
CHUANG
And you will go away from me, out of my sight.
KATHERINE
Don't. Don't send me away.
CHUANG
I do not cleave to foreign women.
She is leaning against him now, almost asleep with whatever it is he has obviously given her.
KATHERINE
I have given you my life. I would give you anything.
CHUANG
(softly, in her ear)  Have you become Chinese?
KATHERINE
I have tried...my lord.
CHUANG
You are spoiled, silly Englishwoman.
She seems to be going out. Chuang is holding her to keep her from falling. Scott has brought his gun around: he looks as though he'd dearly love to shoot the General now.
KELLY
What have you done to her?
CHUANG
She is asleep. Nothing more.
CAMERA HOLDS EXTREME CLOSE TWO, Chaung and Katherine as he looks down at her.
CHUANG
She would never have gone.
Chuang looks up at the Guard, who stands stiffly at attention, and speaks to him. The Guard is so surprised that he looks at the General. The General tells the Guard to go. The Guard goes quickly. The General rises with the limp form of Katherine and carries her to a sofa, putting her down gently.
CHUANG
(continuing)  Tell her that the man was spared. But not until you reach Hong Kong.  (after a moment, a whisper)  She is Chinese.
SLOW CROSS FADE TO:
(89)     EXT. TERRACE -- NIGHT
Kelly and Chuang sitting in the cold night air, watching for the dawn and the coming plane. Through the open doors to the salon Katherine can be seen sleeping on the sofa. Scott comes out on the terrace from the salon.
KELLY
You get through?
SCOTT
Yeah. They got the signal and a fix on us. The plane will be here about dawn.
CHUANG
(quiet, looking out at the sky)  Remarkable.
SCOTT
What?
CHUANG
Thoughts. Joining, separating, going on. The curse of memory.
SCOTT
Why a curse?
CHUANG
In all memory is implicit loss. Are you familiar with the ancient form of haiku?
SCOTT
A little.
CHUANG
"The long night; the sound of the water says what I think." They translate poorly. There is a game I remember seeing in England. A game of child's play. To you perhaps, quite common. But to me strange, fascinating. The children dance around the chairs. One by one the chairs are removed and the children who have lost a place in the game drop out...one by one. A whole history of activity, laughter, and shouting, about the chairs. Finally, at the end, all the children have been forced out of the game...and only one child remains...the act of winning, to win...  (cold, quiet, distant)  ...the child must finish...alone. One child and one chair, and at last the game is over. You know it?
SCOTT
Of course.
CHUANG
My family have been rulers in China for a thousand years. A whole history of activity around the chairs. I am the last child in my family. With me the line runs out. And the game is over.
KELLY
You're still a young man.
CHUANG
(softly, looking at the sky)  Almost dawn.  Another half hour. I am a thousand years old, Mr. Robinson. If I were to marry a woman...not Chinese, my soldiers would leave me. They have sworn an oath to serve me until death, but that would break it. I am not engaged in war any longer, not even in battle. This is a holding action. A habit, a winding down. It can only end in defeat. The Englishman's money will prolong it. No more than that.  (To Kelly directly)  I do not want her here when it happens...when it ends. These are the reasons you are taking her out, and these are the only reasons.
Suddenly there is a muffled commotion from within and a distant cry, cut off. The General moves quickly to the open doorway and stands still, waiting, listening, black against the lighted room. Kelly and Scott bring their weapons to bear on the General's back and sit, taut, waiting. The doors at the far end of the long room burst open and two guards rush in, coming to a frantic semblance of attention. One of them speaks loudly to the General without looking at him. While the hurried, fragmentary report is being made, four more guards run in and station themselves with ready weapons trained on the open doors they have just come through. The General turns, looks up, searching the sky.
CHUANG
(cold, decisive)  Too late. Too late. I should have killed him. The prisoner, the object of my compassion...
A burst of muffled gunfire from deep within the temple. The General turns quickly, shouting orders to his guards. Kelly and Scott get to their feet as they see the General pick up Katherine and return toward the garden, moving quickly, carrying the girl, four of his men following. Two remain in the salon, setting up a machine gun to cover the far entrance to the room.
CHUANG
(continuing)  ...escaped, found his way to my radio room, sent a message.
They hurry across the small garden and through a door in the temple wall, going down steps within.
CHUANG
(continuing, clear, bitter; a throwaway)  The enemy is upon us, gentlemen.
Automatic rifle fire, screams, cacophony from within the bowels of the temple, coming closer. HOLD LONG SHOT of the two soldiers by the machine gun in the center of the salon...waiting.
(90)     INT. TUNNEL
The group runs through: Kelly, Scott, General, Katherine, the guards. The General shouts and order as they turn a corner and go out of sight. Immediately two of the guards whirl and drop to their knees, facing CAMERA...waiting.
(91)     INT. TUNNEL
As all the heads pass CAMERA, running, close: Guard, Chuang with Katherine, Kelly, Scott, and last guard. PAN WITH the last guard as they all approach a closed door at the end of the tunnel section. A posted guard is there, waiting. The General shouts his identity.
(92)     CLOSE -- POSTED GUARD AT DOOR
PAN HIM as he rises, panic in his eyes. WIDEN ANGLE to hold group as they join him. More firing, much closer now. The General shouts to the Guard to open the door.
(93)     LOW ANGLE -- GUARD
as he fumbles with the fantastic old lock on the door.
(94)     FULL SHOT -- KELLY AND SCOTT
as they move in tight behind the two guards who are kneeling, staring down the dark tunnel past CAMERA.
SCOTT
(scanning tunnel ceiling quickly)  How far down you figure we are?
KELLY
(flat)
Buddy, from here the only way to go is up.
More shouts, very close now, the sounds of death; shots, cries of challenge and defeat.
SCOTT
(quick)  Flatten out.
He and Kelly paste themselves to the sides of the tunnel, opposite each other.
(95)     THEIR P.O.V. -- DOWN TUNNEL, RECEDING INTO DARKNESS
A hoarse voice shouts its identity and comes forth out of the darkness, stumbling toward CAMERA, badly hurt but still holding his automatic weapon. It is one of the Guards who stopped in the tunnel to protect the General's retreat.
(96)     THE GROUP
as the wounded guard joins them, falling in beside the two guards kneeling on the tunnel floor. Kelly moves quickly back to the General.
CHUANG
The river is directly above us. We will come out on the far side.
(97)     ACROSS THE GENERAL
and Kelly to the Guard who is working feverishly to open the door. The General shouts at him in fury.
(98)     CLOSE -- GUARD OPENING DOOR
The door is ancient, cedar a foot thick, a primitive bank vault, an escape hatch, intended to be watertight. Suddenly it is open a crack.
(99)     FULL SHOT -- THE SCENE
Chuang hands Katherine to Kelly and attacks the door, wrenching it open, inch by inch, with the aid of the Guard. Then, without warning, firing from behind CAMERA. One of the kneeling Guards goes down. The others and Scott return fire. Kelly holds Katherine in one arm and fires his Browning.
(100)     CLOSE -- THE DOOR
as the General strains, opening it further. At last it is open enough. PULL BACK as he turns to reach for the girl; he is hit, badly. He struggles through the door as the others follow, firing behind them.
(101)     THEIR P.O.V. -- LOW ANGLE
Shooting over the wounded Guard who last joined the group. The enemy is not seen, only the flashes from their weapons far down the dark tunnel. The wounded Guard turns, looks back PAST CAMERA to the others as they escape through the door. He tries to get up, go with them...but he can't make it.
(102)     HIS P.O.V.
The door closing on him.
(103)     C.U. THE WOUNDED GUARD
Stoic, he turns back, continues to return fire. His weapon jams, he picks up the weapon of his fallen camera and rolls on his side, firing up PAST CAMERA.
(104)     HIS P.O.V.
as he puts out the torch in the wall with a short burst, plunging the tunnel into absolute darkness.
(105)     C.U. THE WOUNDED GUARD
as he rolls back, still firing, but this time down the tunnel again, the flashes of the rounds lighting his face. In a moment he slumps, his finger still tight on the trigger.
(106)     INT -- THE TUNNEL - BEYOND THE DOOR
which has been locked again. The tunnel widens a little here into a makeshift storeroom. The General is slumped against some boxes and crates. Some of the boxes have the word "DYNAMITE!" stenciled across them. At the far end of this short section is another door. Scott and one of the Guards are working at it, trying to get it open. Kelly is examining the General: it is obviously a fatal wound. One of the two remaining Guards lights the second torch set in the wall...the sound of firing tapers off suddenly. Silence. Kathering is lying back against some grain sack[s], rice bags beside the General. Kelly straightens a little before the General. His expression is not hopeful. From Kelly's eyes the General turns slowly to look down at Katherine.
CHUANG
Could I reach Thailand?
KELLY
You might.
CHUANG
(moves his finger scant inches to touch her shoulder)  I would only delay you.
KELLY
(impatient)  We'll take the gamble.
CHUANG
(softly, his decision made)  No. You will not.
Finally the door swings open at Scott's savage efforts. He whirls.
SCOTT
Kelly!
CHUANG
The area is swarming with them by now. For miles.  (back to Kelly, cold, hard)  Mr. Robinson, do not let a thousand years go for nothing.
Kelly returns his look with great compassion and respect for this amazing man.
KELLY
(hard, military: a lieutenant to his General)  No, sir.
SCOTT
(urgent) We gotta go, Kel.
CHUANG
(weakening)  Take her. Go. That is an order.
Kelly picks up Katherine, slinging his Browning over his shoulder. He stands for an instant, looking down at the General.
KELLY
(quiet)  Goodbye, sir.  (?"Have a good journey."?)
In another moment, Scott, Kelly and Katherine are gone. The Guards close the door again.
(107)     ACROSS CHUANG TO HIS GUARDS
He speaks to them. CAMERA ARCS around Chuang, holding him in f.g., the Guards in b.g. as they come and sit side by side on a row of boxes across from the General. They sit stiffly, staring, seeing nothing. The General speaks again. They put down their rifles and draw sideweapons, Mausers, holding them stiffly at the ready.
(108)     INT -- TUNNEL
Scott and Kelly, running, bumping, scrambling with the sleeping girl. The tunnel is rising sharply.
(109)     CLOSE -- THE GENERAL
He is weaker, his eyes filming over. The sound of an axe biting into wood comes to him. Slowly he looks.
(110)     HIS P.O.V.
With every blow the great cedar door shudders slightly.
(111)     FULL SHOT -- THE GENERAL, HIS GUARDS
Still...waiting. The sound of rending wood.
(112)     ACROSS CHUANG TO HIS GUARDS
Slowly he turns to look at them.
(113)     C.U. CHUANG
as he completes the turn: his eyes glazed, now, his ears buzzing, playing him tricks, turning the strange distant buzzing, the thudding axe into muted music...lively, spirited, but vague, atonal (as in Ravel's "La Valse")
(114)     HIS P.O.V.
But they have become children, sitting stiffly, starched and combed, side by side in simple chairs. They are in a large, milky-lit ballroom, the bright lights blurring the picture. Suddenly the children jump up and begin dancing around the two chairs, the echo of their fluting laughter coming to the General faintly.
             (USE BARE STAGE, SINGLE CHANDELIER -- BLACKNESS ALL AROUND)
(115)     C.U. THE GENERAL
His eyes dull, watching this mental horseplay with massive will and self-contempt.
(116)     HIS P.O.V. AGAIN -- THE CHILDREN
But one of the chairs has disappeared. The two little boys dance on around the single chair. Suddenly the music is cut off, leaving only the thudding rhythm in the background of sound. MOTION SLOWS TO SIXTEEN FRAMES as one boy scrambles into the chair, forcing the other child out. CAMERA MOVES IN on the delighted, perspiring, panting child. He is a little Chinese boy.
(117)     C.U. THE GENERAL
His vision is now too badly impaired to try to look anywhere. He listens. The thudding rhythm of the axe is punctuated now and then by short bursts of automatic firing.
(118)     THE DOOR
giving way.
(119)     THE GUARDS
Stiffly, waiting.
(120)     THE GENERAL
He speaks to them, without seeing...softly, softly.
(121)     THE GUARDS
They bring the Mausers down slowly to aim directly into CAMERA.
(122)     THEIR P.O.V.
The boxes of "DYNAMITE!"
(123)     THE DOOR
The firing is literally eating away the wood around the latch, disintegrating it. At last the door gives.
(124)     THE GENERAL
He yells.
(125)     INT -- THE TUNNEL
At the edge of the river, just as Kelly[,] with Scott's help, pulls Katherine up into the open. A terrible sound and a blast of air shocks them, coming up from the hole.
(126)     ACROSS THEM -- TO THE RIVER IN B.G.
as a great column of water explodes straight into the night sky; the whole middle of the river.
(127)     CLOSE THREE
Scott pulls the girl close as he and Kelly stare. In a moment the water cascades down on them in a torrent. They scramble to their feet and move off quickly, the water still falling.
DISSOLVE:
(128)     EXT -- THE RUBBER BOAT -- MORNING -- LONG SHOT
as the little craft scoots swiftly downstream.
(129)     CLOSE -- THE RUBBER BOAT
Kelly and Scott are using paddles only as rudders; both are grim, tired, silent. Katherine is still asleep. Kelly pulls in his paddle, leans in to her, takes her wrist feeling her pulse in studied concern.
(130)     CLOSE -- KELLY'S HAND
Covering her wrist. After a moment his hand releases her, disclosing the cotton threads on her wrist...but now they are in tatters, some of them completely gone. One hangs, broken.
(131)     CLOSE -- KELLY
Looking down at her wrist. Slowly he looks to her face.
(132)     CLOSE -- KATHERINE
Sleeping, her face turned slightly from the sun. She looks tired, worn.
(133)     CLOSE -- KELLY
His eyes hooded, almost hard.
(134)     CLOSE -- KELLY'S HAND
Moves slowly back to her wrist, gently lifts away the broken thread. In the distance WE HEAR a strange, piping cry. It is repeated.
(135)     MED -- SCOTT
Looking up, scanning the sky.
(136)     HIS P.O.V.
A flight of wild geese, in ragged formation, very high, moving across the morning sky, going south.
(137)     CLOSE -- SCOTT
He is unaware of Kelly's action.
SCOTT
How do they know? How do they know when the year ends?
(138)     CLOSE -- KELLY
Looks up at the flight overhead.
(139)     HIS P.O.V.
The long, trailing "V", moving swiftly on the wind.
(140)     CLOSE -- KELLY
Drops his eyes back to Katherine.
(141)     CLOSE -- KATHERINE
Sleeping, motionless.
(142)     CLOSE -- KELLY
Tired...just very tired.
KELLY
(quiet, hard)  It gets cold, I guess.
(143)     CLOSE -- KATHERINE'S WRIST
And close to it the tiny, broken thread in Kelly's hand.
(144)     FULL SHOT -- THE RUBBER BOAT
PULL BACK until the boat is a tiny dot, going away down the great river.

THE END