Datasets:

AIRI-NLP

/

quality_counter_new_5120

like 0

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

kinda

How many times the word 'kinda' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

clothes

How many times the word 'clothes' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

despair

How many times the word 'despair' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

construction

How many times the word 'construction' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

naqqar

How many times the word 'naqqar' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

flighty

How many times the word 'flighty' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

card

How many times the word 'card' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

four

How many times the word 'four' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

elbows

How many times the word 'elbows' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

despite

How many times the word 'despite' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

hundred

How many times the word 'hundred' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

police

How many times the word 'police' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

sporting

How many times the word 'sporting' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

court

How many times the word 'court' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

next

How many times the word 'next' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

bandra

How many times the word 'bandra' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

gateway

How many times the word 'gateway' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

why

How many times the word 'why' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

attempt

How many times the word 'attempt' appears in the text?

72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72 The ancient train is huffing slowly up an incline. A middle class Indian couple with their three children are sitting at a table, their breakfast spread before them. Into this domestic scene, unseen by them comes Jamal. Upside down and still outside the train, he is clearly being dangled by his ankles from the train roof. He gives a few, silent directional signs to Salim who manoeuvres him across, dips his hand into the open window, snatches a chapatti and signals franticly to be hoisted up. The family continue to eat, unperturbed. Then Jamal appears again. This time one of the children spots him. Despite Jamal giving her a friendly wave, she yelps. The father of the group grabs Jamal's hand which has just snatched a samosa. There is a tussle, Salim holding onto Jamal's legs, the father holding onto Jamal's arms and Jamal in the middle, shouting. Salim is losing the battle and his footing. He stumbles and the pair of them fall from the train, rolling and tumbling down an embankment in slow-motion. Interspersed with the seemingly endless tumble are images of Jamal and Salim on top of different trains- - huddled together against the freezing rain... - surfing the wind at the front of the train... - admiring the distant Himalaya.... JAMAL V/O We criss-crossed the country from Rajasthan to Calcutta. Every time we were thrown off we got back on again. This was our home for years. A home with wheels and a whistle. The final tumble as they crash onto flat ground. 73 EXT. RAILWAY EMBANKMENT. DAY. 73 Groggily, Jamal sits up and groans. Somehow in the tumble, he has been transformed into a twelve year-old. And Salim a strong fourteen year-old. Through the haze of pain and dust, Jamal sees something glinting in the distance- something impossibly beautiful. JAMAL Salim? Is this heaven? SALIM You're not dead, Jamal. Jamal clears his head. Sees Salim picking himself up from the ground. But the apparition is still there. (CONTINUED) 46. 73 CONTINUED: 73 JAMAL So what's that? SALIM Wow. They stare at the apparition. The unmistakable outline of the Taj Mahal rises from the horizon, pink in the morning sun. Nothing could be more beautiful. JAMAL Some hotel, huh? 74 EXT. TAJ MAHAL. DAY. 74 Jamal and Salim wander under the great dome of the Taj Mahal. Two tiny slum kids dwarfed by this massive monument to love. It is a moment of genuine wonderment for them. Then a tour guide bustles nearby, tourists flowing behind him. GUIDE ...there are five main elements to the Taj. The Darwaza, the main gateway, the Bageecha or garden, the Masjid or mosque, the Naqqar Khana, the rest house and the Rauza or mausoleum. If you would like to follow me, I will show you the ninety-nine names of Allah on Mumtaz's tomb. As before, please remove your shoes. Jamal follows the Guide and his entourage into the mausoleum. Salim meanwhile is studying the line of shoes. Tries a smart pair of women's court shoes, before slipping a foot into a nice, white sneaker. A smile crosses his face. His other foot quickly follows and he saunters away, all mock-innocence. 75 EXT. TAJ MAHAL. DAY 75 Jamal comes out of the mausoleum into the bright sunlight and looks around for Salim. No sign of him. Suddenly, a German couple approach. ADA Please, what time is the next tour? JAMAL Err- PETER - so much waiting around in this damned country. (CONTINUED) 47. 75 CONTINUED: 75 Jamal notices that he is standing next to a sign advertising guided tours of the Taj. JAMAL No, I- ADA - we're on a very tight schedule, you see, young man. Have to see the Red Fort this afternoon. Would it be possible to show us around now? Obviously we understand it would cost more for just the two of us... Peter waves a couple of thousand rupee notes at Jamal. His eyes widen. JAMAL But of course, Madam. Please follow me. Jamal stalks off. The Germans follow. Jamal stops before the monument. Points a confident arm at it. JAMAL (CONT'D) This is....the Taj Mahal. A terrible pause as Peter and Ada stare at him. Clearly more is expected. He moves off at a pace. JAMAL (CONT'D) The Taj Mahal was built by the Emperor Khurram for his wife Mumtaz who was maximum beautiful woman in the whole world. When she died, the Emperor decided to build this five star hotel for everyone who wanted to visit her tomb...but he died in- in fifteen eighty-seven, before any of the rooms were built. Or the lifts. The swimming pool, however, as you can see was completed on schedule in top class fashion. He waves confidently in the direction of the fountains. ADA It says nothing of this in the guide book. JAMAL With respect, Madam, the guide book is written by a bunch of lazy, good-for-nothing, Indian beggars. (CONTINUED) 48. 75 CONTINUED: (2) 75 ADA Oh. JAMAL And this, Lady and Gentleman, is burial place of Mumtaz. ADA How did she die? JAMAL A road traffic accident. ADA Really? JAMAL Maximum pile-up. PETER (suspicious) I thought she died in child- birth. JAMAL (nodding sagely) Exactly, Sir. She was on the way to the hospital when it happened. Jamal moves on. Ada and Peter exchange a glance. ADA (shrugging) You've seen the way they drive around here... 76 EXT. TAJ MAHAL. DAY. 76 Montage of Jamal authoritatively showing tourists around the Taj Mahal. JAMAL V/O It was the best-paid job I've ever had. JAMAL This is the Princess Diana seat, Madam. Allow me. Jamal shows the tourist a battered postcard of Princess Diana, staring doe-eyed into the distance with the Taj behind. The tourist sits. Jamal adjusts her legs so that they match the postcard. Takes the photo.... SALIM O/S Tourist police! (CONTINUED) 49. 76 CONTINUED: 76 ...and abandons the woman with a polite bow, charging for safety as two Police Officers race towards him. CUT TO: 77 EXT. TAJ MAHAL. DAY. 77 Jamal stands a Tourist on a wall and positions his hands to create the optical illusion that he is dangling the Taj from his fingers. Takes a photo for the Tourist. Behind the Tourist, Salim and a boy called Shankar pick up the Tourist's shoes and saunter casually across the grass. CUT TO: 78 EXT. ROADSIDE MARKET. AGRA. DAY. 78 By the side of a busy market street Salim stands next to a row of stolen shoes. Sneakers, court shoes, sandals, high heels...he is busy bartering with a man over a pair whilst Jamal tries to shout up business. JAMAL Top-class fashion, bottom-class prices! Shoes for all! Shoes for all! 79 EXT. BOYS CAMP, YAMUNA RIVER. DAY. 79 Hectares of drying clothes by the side of the river. Spectacular squares of red, saffron, white. Not far away from the dhobi ghat, there is a makeshift slum- camp where Salim and a gang of children are sitting, smoking. Jamal joins them, hands over a wad of rupees to Salim. Salim counts the cash, hands half to Shankar and slaps Jamal so hard on the back that he nearly falls over. JAMAL V/O And life was good. 80 EXT. SLUM. DAY. 80 Jamal gets out of a new Mercedes driven by an Indian Man. A middle-aged American couple also get out. Jamal points them down a lane which opens out on India's largest dhobi where hundreds of women are beating clothes on stone slabs. JAMAL This is the biggest dhobi ghat in the whole of India, Mister David. (MORE) (CONTINUED) 50. 80 CONTINUED: 80 JAMAL (CONT'D) They say that every man in Uttar Pradesh is wearing a kurta that has been washed here at least one time. CLARK Is that so? That's amazing. Let's get a look at this, Adele. He gets out his video camera and wanders towards the dhobi ghat. Behind them a motor rickshaw pulls up. Salim, Shankar and a couple of the street kids from the Taj leap out. Within seconds, the Mercedes is up on bricks and the wheels are being removed. Salim takes a hacksaw to the Mercedes badge on the bonnet, whilst urging the others on. SALIM Ar , sala! Formula One, Formula One! Pit-stop ka speed, Schumacher ka ishtyle The crowds in the lane barely notice as the car is stripped of all its parts. SALIM (CONT'D) Go, go! A shout from the top of the lane and the boys scatter, bouncing the four wheels at speed down the lane. Jamal, the Indian driver and the two Americans return. They stop in front of the denuded car. CLARK Woah. What happened here? Suddenly the Indian driver is slapping Jamal ferociously around the head with one of his shoes. DRIVER I give you two tight slaps, mader chod! JAMAL I don't know! I didn't do it, did I...? Nothing to do with me...get off! But the beating continues, the driver kicking Jamal down onto the floor. The two Americans stare, uncertain what to do. ADELE Do something, Clark. CLARK Well, I- I dunno, I- Finally Clark intervenes, pulling the driver off Jamal. (CONTINUED) 51. 80 CONTINUED: (2) 80 CLARK (CONT'D) Okay, okay, just cool it. You're insured, aren't you? Jesus Christ... Jamal sits up. He is bleeding from his nose and mouth. CLARK (CONT'D) You okay? JAMAL You wanted to see the `real India', Mister David. Here it is. ADELE Well, here's a bit of the real America, too, son. Adele pulls out his wallet and rummages for dollars. 81 EXT. YAMUNA RIVER. NIGHT. 81 A battered Jamal limps along the river bank towards the Taj. He stops, bathes his swollen face in the river. Then looks up. Strange lights appear to emanate from the base of the monument. And then strange sounds. 82 EXT. TAJ MAHAL. NIGHT. 82 Jamal climbs a crumbling wall and is confronted with an opera taking place right under the dome. Gluck's Orfeo ed Euridice. Hundreds of India's smartest professionals are watching from banked seating on a scaffolding frame. 83 EXT. STANDS. NIGHT. 83 Jamal and a couple of street kids slip under the scaffolding supporting the banked seats. The street kids are trying to reach the hand-bags of the women above them. BOY (hissing) Oi, Jamal! There's a woman with no panties on over here. Jamal reaches up and easily lifts a wallet from a man's trouser pocket. On stage, the actors start singing. Jamal seems to have forgotten the wallet and stares, mesmerised, at the stage. WOMAN Why don't you put it back and listen to the music? (CONTINUED) 52. 83 CONTINUED: 83 Jamal starts, makes to run, but the woman who spoke holds out a cigarette. A Canadian back-packer is sitting, staring at the singers. WOMAN (CONT'D) It's called Orfeo. Orpheus and Eurydice. Orpheus- that one there- is looking for his lover, Eurydice. She died, but he can't live without her. She hands him a cigarette. He puts the wallet back. She smiles at him and they both turn to the stage. WOMAN (CONT'D) The pain is so bad that he goes to the underworld- the place we go when we die- to try to get her back. JAMAL You can't do that. Can you? WOMAN (shrugging) You can in opera. JAMAL Does he find her? WOMAN Watch and see. Jamal watches as Orpheus sings one of the most beautiful pieces of music a human is likely to hear. Tears are running down Jamal's cheeks. 84 EXT. YAMUNA RIVER. NIGHT. 84 Salim, Shankar, Jamal and the Taj Gang are gathered around a campfire. All of them wear extraordinary foot- wear of one form or another, from elaborate high heels to walking boots five sizes too large. A home-made hooka pipe is being passed around the fire. The eyes of the children have long since stopped focussing. Salim is sporting a Mercedes Benz badge on a chain around his neck. Behind him, Jamal appears, his face swollen. He takes off his fake Guide's Badge and throws it in the fire. SALIM Woah! What are you- Jamal? JAMAL We have to go, Salim. SALIM Go? Go where? (CONTINUED) 53. 84 CONTINUED: 84 JAMAL Bombay. SALIM Don't be stupid. We're making good money here. JAMAL We should have gone a long time ago. Salim turns to Shankar with sudden understanding. SALIM Oh, God. Baby brother's in love. With a flat-chested hijra. JAMAL Latika was one of us. A musketeer. SALIM A musketeer...Grow up, Jamal. Look, how was I to know they'd beat you up. Here, you can have some of the cash. Come on... JAMAL I've got cash. He rips out a wad of dollar bills from his pocket. JAMAL (CONT'D) Dollars. SALIM How much? JAMAL Enough. I'm getting my stuff. He walks off. SALIM Wait! Jamal! Ah, shit! He gets up, kicks the fire in rage and stomps after Jamal. 85 INT. STUDIO. NIGHT. 85 Prem leans back in his chair. PREM So, my friend: ready for another question. (CONTINUED) 54. 85 CONTINUED: 85 JAMAL Yes. Prem presses his computer. The lights dim again, the music comes up. PREM For a straight one million rupees, Ladies and Gentlemen...On an American One Hundred Dollar Bill there is a portrait of which American statesman? Is it A), George Washington, B) Franklin Roosevelt, C) Benjamin Franklin, D) Abraham Lincoln? Silence from Jamal. PREM (CONT'D) Pay or play, Jamal? All you have to do is stop now and you walk away with a cool quarter of a million rupees. Decide to play, get the answer wrong and you walk away with absolutely nothing. But, get the answer right and you win a million rupees. So. You decide. Pay or play? A long pause. 86 INT. GALLERY. NIGHT. 86 DIRECTOR Okay, he hasn't got a clue. This is going to be a walk-away. Stand by. VISION MIXER No, he's going to play with him, first. 87 INT. STUDIO. NIGHT. 87 PREM Get a lot of hundred dollar bills in your line of work, Jamal? JAMAL The minimum tip for my services. Laughter from the audience. (CONTINUED) 55. 87 CONTINUED: 87 PREM Now I know why my cell phone bill is so high...they pay the chi-wallah in hundred dollar bills! JAMAL It's C. Benjamin Franklin. A gasp from the audience. Prem is caught off-guard. PREM Woah! We haven't locked the computer, man. You're going to play? JAMAL I think I just have. Haven't I? PREM You certainly have. C. Right? JAMAL Right. C. PREM Not confusing your Franklins? Benjamin for Roosevelt? JAMAL I've never heard of Roosevelt Franklin. PREM There's a million rupees at stake and he's never heard of Roosevelt Franklin...I can't bear to look. He gives this one to the audience who titter on cue. Jamal looks confused. PREM (CONT'D) No, no. Don't you worry, Jamal. You were asked which statesman is depicted on a hundred dollar bill. You said C. Benjamin Franklin. Ladies and Gentlemen... He presses the computer, pretends to ruminate for a while with his finger pressed to his lips. PREM (CONT'D) Jamal Malik- you chose to play not pay. I'm afraid you no longer have two hundred and fifty thousand rupees.... (CONTINUED) 56. 87 CONTINUED: (2) 87 Prem leans over and tears up the cheque. There is a sigh of disappointment from the audience, a look of confusion on Jamal's face. PREM (CONT'D) ...you in fact have one million rupees! Wild applause from the audience. Jamal allows himself a genuine smile. 88 INT. INSPECTOR'S OFFICE. DAY. 88 The Inspector pulls out a note from his wallet. Glances at it. INSPECTOR Who's on the thousand rupee note? JAMAL I don't know. He waves the note at him. INSPECTOR It's Gandhi! JAMAL I've heard of him. The Inspector kicks his chair. INSPECTOR Don't get clever or I'll get the electricity out again. JAMAL They didn't ask me that question. I don't know why. Ask them. The Inspector stares hard at Jamal. INSPECTOR Funny, you don't seem that interested in money. Then, Constable Srinivas stomps back into the office, sweat pouring from him. CONSTABLE SRINIVAS Platform Seventeen- Has to consult his notebook. (CONTINUED) 57. 88 CONTINUED: 88 CONSTABLE SRINIVAS (CONT'D) A statue of Frederick Stevens, architect and builder of Victoria Terminus in - INSPECTOR OF POLICE - yes, yes, Srinivas. The hundred dollar bill. 89 EXT. BOMBAY. DAY. 89 From a thousand feet in the sky, looking down on the limitless megatropolis of Mumbai. Half-built sky- scrapers, slums, factories, roads, trains. JAMAL V/O Bombay had turned into Mumbai. We descend, down until the lines of ants become people. JAMAL V/O (CONT'D) The orphanage had gone, the slum had gone, the people.... all gone. And everywhere was building, building, building. Descending even further, we pick out a construction site and then Jamal.... 90 EXT. CONSTRUCTION SITE. DAY. 90 ..who is staring through a wire fence at the construction site. JAMAL V/O But I knew she was here. Somewhere she was here. He turns away, then something catches his eye. Underneath all the scraps of flyers and posters on a broken wall is a corner of something that Jamal recognises. He tears back a poster. Underneath, faded but recognisable is one of their beanbag graffiti advertisements. 91 EXT. SLUM. NIGHT. 91 Jamal asks a group of stall-holders on the slum main street. They shrug, aren't interested. The camera pulls up and up until Jamal is nothing but a dot wandering the maze of lanes, railways and highways, one among endless millions of people. JAMAL V/O Evenings, I searched. Days, I worked. 58. 92 EXT. HOTEL. DAY. 92 Jamal wanders up to the rickshaw drivers parked outside the hotel. He stops and asks a question. The drivers shake their heads. Jamal continues up the steps towards a door, exhausted face and grubby clothes walking straight towards camera. He goes through the door and immediately.... 93 INT. HOTEL. FOYER. DAY. 93 ....is, without breaking step in a slightly grubby white uniform. He walks across the echoing, marble floor of a struggling four-star hotel, goes through double doors.... 94 INT. HOTEL CORRIDOR. DAY. 94 ...into a corridor that is devoid of carpet, paint- anything except a phone on the bare wall and a stool. The phone is ringing. Jamal sits on the stool and answers the phone. JAMAL Room service, good afternoon?... Yes, sir. Two chicken burgers, two fries, one cocoa-cola and one mango lassi and a large bottle of mineral water...Bisleri or Himalayan Spring, Sir?...Certainly, Sir. That will be with you in fifteen minutes, Sir. Thank you. Have a nice day. He hangs up and goes through another set of doors... 95 INT. HOTEL KITCHENS. DAY. 95 ...to a cramped kitchen with definite hygiene problems. The cooks are playing carom on the table while under it Salim is dozing. JAMAL Two chicken burgers, coke, mango lassi and a bottle of Bisleri. Dozily, Salim gets up and takes a look behind one of the fridges. He chases out a chicken with a desultory kick and sorts through some empty mineral water bottles until he finds a Bisleri bottle. Salim fills the bottle of mineral water from the tap and begins delicately re- sealing the tamper-proof lid with super-glue. Jamal collects cutlery and starts laying out a tray. (CONTINUED) 59. 95 CONTINUED: 95 JAMAL (CONT'D) I'm going to Chowpatti again, okay? Want to come? SALIM For God's sake. You got some disease? You force me back to this shit-hole, we leave our friends, a good life, loads of money- for this. Isn't that enough? JAMAL We came back to find her. SALIM No, you did, Jamal, not me. Me, I don't give a shit about her. Plenty of pussy in Bombay for Salim. Oh, yes, sir! You should come down the Cages on Saturday night instead of searching for your lost love. JAMAL I'm going to Chowpatti. SALIM (impersonating Ram) "I'm going to Chowpatti". There are nineteen million people in this city, Jamal. Forget her. She's history. JAMAL V/O But she wasn't. 96 EXT. BANDRA BANDSTAND. DAY. 96 Jamal is dodging the traffic at a busy junction. He moves around the beggars who are working the cars. Then he hears singing. He looks around, suddenly panicked. It is a siren song drawing him across the road, not even noticing that he is narrowly run down by a couple of cars, to a traffic island underneath a flyover. He turns a corner and there is the singer, leaning up against one of the struts of the flyover. Arvind. Older now, just like Jamal, a fourteen year-old boy. But eye- less. Jamal freezes. He approaches Arvind and waits until he has finished singing. Despite his eyeless sockets, Arvind appears to know somebody is there. He turns and bows low, putting his hands together. ARVIND Namaste, Sahib. Any kindness you give will be repaid in heaven many times. (CONTINUED) 60. 96 CONTINUED: 96 Jamal gets a couple of notes out of his pocket and puts them into Arvind's outstretched hand. He feels the notes with his fingers. ARVIND (CONT'D) A fifty. And a hundred! Blessings upon you, Sahib. JAMAL How do you know? ARVIND There are many ways of seeing. Arvind puts his hands together and bows deep again. Then, Jamal takes his shoe off and gets out a hundred dollar bill. JAMAL Here. Jamal crouches down and puts the bill into Arvind's hand. His fingers feel it. He sniffs it. ARVIND Dollars. But how many? JAMAL One hundred. ARVIND Now you are playing with me, Sahib. JAMAL No. I swear. ARVIND What is on it? The pictures. Tell me. JAMAL A building. With a clock on it. Trees behind it. ARVIND The other side. Turn it over. JAMAL A man- it doesn't say his name. He is sort of bald, but has long hair on the sides. ARVIND (smiling) Benjamin Franklin. My God, my God. Thank you, Sahib. You were generous the first time. But this... (CONTINUED) 61. 96 CONTINUED: (2) 96 He stops. Suspects. ARVIND (CONT'D) And without even a song? A long pause. Arvind keeps hold of Jamal's arm. ARVIND (CONT'D) So you are rich, now, are you, Jamal? I am happy for you. JAMAL I am so sorry, Arvind. ARVIND You got away. I didn't. That is all. No, no tears. Tears mock me all the more. JAMAL Arvind, I am looking for- ARVIND - how's your voice, Jamal? JAMAL I don't know. I haven't sung since- since then. Arvind, I- ARVIND - and your eyes? JAMAL (surprised) My eyes? My eyes are fine. ARVIND Then stay away, chutiy , and count your blessings every morning you open them and see the sun rising. You owe Maman. He doesn't forget. JAMAL I owe Latika. Arvind shakes his head angrily. JAMAL (CONT'D) Please. Is she alive? Arvind, is she alive? ARVIND Alive? Oh, she's alive alright. It's your life, Jamal. Pila Street. They call her Cherry, now. (CONTINUED) 62. 96 CONTINUED: (3) 96 JAMAL Thank you. Jamal heads off through the traffic. Arvind shouts after him. ARVIND I will sing at your funeral, yaar. 97 EXT. PILA STREET. NIGHT. 97 Dark, crowded streets. Gangs of women stand outside the doorways or lean out of upstairs windows. They are garishly-dressed prostitutes varying in age from 13 to 60. Men wander past, eying the possibilities, exchanging lewd comments with them. Among the hordes on the pavement are Jamal and Salim. They pass doorway after doorway of narrow rooms where prostitutes wait for customers. Jamal and Salim stop at each group of women, Salim taking the lead, clearly asking them something, as the women either shrug or offer them something lewd- judging by the laughter that follows. But one woman in a narrow doorway points down the street. Jamal has to drag a reluctant Salim away from the group. 98 INT. BROTHEL. NIGHT. 98 They go into one of the tiny houses. Loud Filmi music comes from upstairs. They are confronted by a woman in her fifties watching tv. She is less than interested. SALIM I'm looking for Cherry. WOMAN No, kid. Not available. Plenty of others. Take a look. She indicates curtained cubicles behind him. SALIM I'm Latika's brother. The Woman looks at him properly for the first time. WOMAN She's still not on the menu. Choose someone else or piss off. Then, Jamal pulls out some rupee notes. JAMAL Just two minutes to talk to her. She takes the money, counts it. (CONTINUED) 63. 98 CONTINUED: 98 WOMAN Two minutes. She nods upwards. Salim and Jamal head up the dark, tiny staircase. The Woman picks up the phone on her desk. 99 INT. LANDING. NIGHT. 99 On the tiny landing, Salim and Jamal pull back a curtain to reveal a humping couple. They move on, past more women lying on their beds or blankly having sex, not in the least perturbed to be interrupted. They reach the end of the landing. From the other side of the door comes the filmi music. Jamal puts his eye to one of the gaps in the slatted door. Through it he can see glimpses of a girl dancing to the music. Latika; though not the rag-picker of before. Now fifteen, she is a beautiful young woman and dressed in a revealing, turquoise, silk sari. SALIM Is it her or not? He shoves Jamal out of the way and watches. SALIM (CONT'D) Shit, she's sexy, man.... Then the music stops, an effeminate man steps into the limited frame Salim can see and snaps a stick down hard on Latika's hand. DANCE TEACHER Smile! Flow, flow! You entice with the hands not make chapattis, you gawaar. Again. The man starts the music again and Latika's hands flow elegantly around her head. DANCE TEACHER (CONT'D) Lift your feet, you lump. Stop, stop! The stick is raised to hit her but Jamal opens the door. 100 INT. BROTHEL. NIGHT. 100 She can barely believe her eyes. LATIKA Jamal? The Dance Teacher turns. (CONTINUED) 64. 100 CONTINUED: 100 DANCE TEACHER What the hell do you want? He switches off the music. JAMAL Come. Quick. But Latika remains fixed. DANCE TEACHER You silly little boys. Get out now while you can. JAMAL Come with us. Latika runs to Jamal. But she freezes as she looks at the doorway. Maman, Punnoose and the Woman from downstairs stand there. The skin around Punnoose's eye bears the blisters from the chloroform burn years ago. MAMAN Look who we have here, Punnoose. Hello again, Jamal. Salim. Never forget a face. Especially one that I own. PUNNOOSE Shall I take them to the marshes? MAMAN Whatever you like. Have fun. Just make sure that you dispose of them properly afterwards. No traces, thank you. He turns to Jamal. MAMAN (CONT'D) You really thought you could just walk in and take my prize away? Have you any idea how much this little virgin is worth, bhen chod? He fingers Latika's hair. MAMAN (CONT'D) Get them out of here. Punnoose and the Muscle walk towards Jamal. Maman turns to the Dance Teacher as they grab his arms. MAMAN (CONT'D) Please continue, Master-ji. The Dance Teacher puts the music back on. (CONTINUED) 65. 100 CONTINUED: (2) 100 SALIM No. Suddenly, Salim is holding a pistol. SALIM (CONT'D) Leave him. Get over there. Punnoose and the Muscle slowly release Jamal and join Maman. MAMAN Let's not be foolish, Salim. Heavy, aren't they? Salim straightens up his gun arm. SALIM Money. MAMAN You can have money. Here. Maman gets out his wallet and throws all the money in it on the floor. MAMAN (CONT'D) Take it. Go. Disappear with your friend and we'll forget all about this. Okay? Salim collects up the money. SALIM Maman never forgets. Isn't that right? MAMAN Oh, Maman can make an exception. Salim walks over to the music, turns it up. Picks up a cushion from the bed and walks right up to Maman. SALIM Can't take that risk, Maman. Sorry. He wraps the cushion around the gun and pulls the trigger. Or tries to. Nothing happens. There is a frozen moment as they watch him fail to shoot. Everybody watches with surreal interest as Salim fumbles with the pistol. Eventually he looks up, giggles stupidly. SALIM (CONT'D) Safety catch. Shrugs apologetically and shoots. Nobody is more surprised than Maman who crumples onto the floor. (CONTINUED) 66. 100 CONTINUED: (3) 100 Latika starts desperately gathering up the notes on the floor, grabs Maman's wallet. Jamal just stands. SALIM (CONT'D) Come on. They run out of the room and down the stairs as Maman dies on the floor in front of his frozen colleagues. 101 EXT. CHOWPATTY BEACH. DUSK. 101 Children are splashing in the sea, flying kites, digging sand, laughing. Salim, Latika and Jamal are crouched on the shore watching the sun sink into the sea. Latika is going through Maman's wallet, Salim is fingering the pistol, admiringly. Jamal is staring out to sea. Each in their own world, yet sharing swigs from a bottle of Johnny Walker. LATIKA Shit, there's thousands here. SALIM We should be celebrating. JAMAL You just killed somebody. SALIM He was going to kill us. JAMAL Where did you get the gun? SALIM Bought it. Now, I'm going to have to throw this beauty in the sea. LATIKA You didn't need to kill him. SALIM What? Typical. I save your life and you're on at me. All you ever do is mess us up. Whenever you're around- JAMAL - shut up, can't you? Just shut up. Silence. SALIM Why can't you just be happy, huh? (CONTINUED) 67. 101 CONTINUED: 101 JAMAL Happy? SALIM You got what you wanted, didn't you? So, let's celebrate. LATIKA Yeah. Let's celebrate. She takes a long swig from the bottle. LATIKA (CONT'D) While we can. She nudges Jamal and holds the bottle out to him. Smiles at him. He smiles back, shakes the black dog from his head and takes a long, long drink. Latika and Salim cheer. 101A

confidently

How many times the word 'confidently' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

economy

How many times the word 'economy' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

door

How many times the word 'door' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

push

How many times the word 'push' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

polished

How many times the word 'polished' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

rank

How many times the word 'rank' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

night

How many times the word 'night' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

stargate

How many times the word 'stargate' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

office

How many times the word 'office' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

shots

How many times the word 'shots' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

anguish

How many times the word 'anguish' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

got

How many times the word 'got' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

lull

How many times the word 'lull' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

short

How many times the word 'short' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

seinfeld

How many times the word 'seinfeld' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

associates

How many times the word 'associates' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

time

How many times the word 'time' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

culminated

How many times the word 'culminated' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

according

How many times the word 'according' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

doubtful

How many times the word 'doubtful' appears in the text?

A Few Good Men Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS A FEW GOOD MEN Written by Aaron Sorkin Revised Third Draft July 15, 1991 FADE IN: EXT. A SENTRY TOWER -- -- in the middle of the night, in the middle of nowhere. Small beams of light coming from lamps attached to the tower cut through the ground mist. We HEAR all the unidentifiable sounds of night in the woods. We also HEAR, very, very faintly, a slow, deliberate drum cadence. And as this starts, we begin to MOVE SLOWLY UP THE TOWER, more becomes visible now:... the sandbags on the ground piled ten-high... the steel, fire escape-type stairway wrapping around the structure and leading to the lookout post, and finally... THE LOOKOUT POST, maybe forty feet off the ground. Standing the post is the silhouette of A MARINE. He's holding a rifle and staring straight out. The drum cadence has been building slightly. CUT TO: A WIDER SHOT OF THE FENCELINE. And we see by the moonlight that the tall wire-mesh fence winds its way far, far into the distance. SUBTITLE: UNITED STATES NAVAL BASE GUANTANAMO BAY - CUBA. The drum cadence continues, and we CUT TO: INT. A MARINE BARRACKS We HEAR two pairs of footsteps and then CUT TO: THE BARRACKS CORRIDOR where we see that the footsteps belong to DAWSON and DOWNEY, two young marines who we'll get to know later. They stop when they get to a certain door. The drum cadence is still growing. DAWSON puts his hand on the doorknob and turns it slowly. He opens's the door and they walk into INT. SANTIAGO'S ROOM - NIGHT WILLY SANTIAGO, a young, very slight marine, lies asleep in his bunk. DAWSON kneels down by the bed, puts his hand on SANTIAGO'S shoulder and shakes him gently. SANTIAGO opens his yes, looks at DAWSON, and for a moment there's nothing wrong -- -- and then SANTIAGO's eyes fill with terror. He lunges out of the bed -- but forget about it. In one flash DAWSON and DOWNEY grab him out of bed, and before the scream can come out, DOWNEY's shoved a piece of cloth into SANTIAGO's mouth. Everything that happens next occurs with speed, precision and professionalism. -- A strip of duct tape is pulled, ripped, and slapped onto his mouth and eyes -- -- A length of rope is wrapped around his hands and feet. DOWNEY (quietly) You're lucky it's us, Willy. -- An arm grabs him tightly around the neck, not choking him, just holding his head still -- -- The drum cadence has built to a crescendo. We HEAR four sharp blasts from a whistle and we SMASH CUT TO: EXT. THE WASHINGTON NAVY YARD - DAY and the drum cadence we've been hearing has turned into Semper Fidelis and it's coming from THE U.S. MARINE CORPS BAND, a sight to behold in their red and gold uniforms and polished silver and brass. The BAND is performing on the huge and lush parade grounds before a crowd made up mostly of TOURISTS and DAY-CAMPERS. As the TITLES ROLL, we watch the BAND do their thing from various angles. Incredible precision is the name of the game. Each polished black shoe hitting the ground as if they were all attached by a rod. Each drumstick raised to the same fraction of a centimeter before striking. A RIFLE DRILL TEAM that can't possibly be human. Flags, banners, the works. SUBTITLE: THE WASHINGTON NAVY YARD, WASHINGTON, D.C. CUT TO: HIGH ANGLE of the entire band an we end credits. CUT TO: EXT. A RED BRICK BUILDING - DAY It's an important building, a main building. A few SAILORS enter and exit and CUT TO: A WOMAN as she walks across the courtyard toward the brick building. The WOMAN is JOANNE GALLOWAY, a navy lawyer in her early 30's. She's bright, attractive, impulsive, and has a tendency to speak quickly. If she had any friends, they'd call her JO. As she walks, she mutters to herself ... JO I'm requesting... I'm... Captain, I'd like to request that I be the attorney assigned to rep -- I'd like to request that it be myself who is assigned to represent -- (she stops) "That it be myself who is assigned to represent"? ...Good, Jo, that's confidence inspiring. We follow JO, still muttering, as she walks into the brick building which bears the seal of the UNITED STATES NAVY - JUDGE ADVOCATE GENERAL'S CORPS CUT TO: INT. WEST'S OFFICE - DAY As JO enters. CAPTAIN WEST and two other officers, GIBBS and LAWRENCE, sit around a conference table. GIBBS Jo, come on in. JO Thank you, sir. GIBBS Captain West, this is Lt. Commander Galloway. Jo, you know Mike Lawrence. JO Yes sir. (to WEST) Captain, I appreciate your seeing me on such short notice. WEST I understand there was some trouble over the weekend down in Cuba. JO Yes sir... This past Friday evening. Two marines, Corporal Harold Dawson and Private Louden Downey, entered the barracks room of a PFC William Santiago and assaulted him. Santiago died at the base hospital approximately an hour later. The NIS agent who took their statements maintains they were trying to prevent Santiago from naming them in a fenceline shooting incident. They're scheduled to have a hearing down in Cuba at 4:00 this afternoon. LAWRENCE What's the problem? JO Dawson and Downey are both recruiting poster marines and Santiago was known to be a screw-up. I was thinking that it sounded an awful lot like a code red. Jo lets this sink in a moment. WEST (under his breath) Christ. JO I'd like them moved up to Washington and assigned counsel. Someone who can really look into this. Someone who possesses not only the legal skill, but a familiarity with the inner workings of the military. In short, Captain, I'd like to suggest that... I be the one who, that it be me who is assigned to represent them. (beat) Myself. Jo looks around the room for a response. WEST Joanne, why don't you get yourself a cup of coffee. JO Thank you, sir, I'm fine. WEST Joanne, I'd like you to leave the room so we can talk about you behind your back. JO Certainly, sir. JO gets up and walks out. WEST I thought this Code Red shit wasn't going on anymore. LAWRENCE With the marines at GITMO? Who the hell knows what goes on down there. WEST Well lets find out before the rest of the world does, this thing could get messy. What about this woman? LAWRENCE Jo's been working a desk at internal affairs for what, almost a year now. WEST And before that? GIBBS She disposed of three cases in two years. WEST Three cases in two years? Who was she handling, the Rosenbergs? GIBBS She's not cut out for litigation. LAWRENCE She's a hall of an investigator, Jerry -- GIBBS In Internal Affairs, sure. She can crawl up a lawyer's ass with the best of 'em, but when it comes to trial work -- WEST I know. All passion, no street smarts. Bring her back in. LAWRENCE goes to the door and motions for JO to come back in. WEST (continuing) Commander, we're gonna move the defendants up here in the morning. JO Thank you, sir. WEST And I'll have Division assign them counsel... JO (beat) But... not me. WEST From what I understand from your colleagues, you're much too valuable in your present assignment to be wasted on what I'm sure will boil down to a five minute plea bargain and a week's worth of paper work. JO Sir -- WEST Don't worry about it. I promise you, division'll assign the right man for the job. CUT TO: EXT. SOFTBALL FIELD - DAY THE RIGHT MAN FOR THE JOB His name is LIEUTENANT JUNIOR GRADE DANIEL ALLISTAIR KAFFEE, and it's almost impossible not to like him. At the moment he's hitting fungoes to about a dozen LAWYERS who are spread out on the softball field on a corner of the bass. The '27 Yankees they're not, but they could probably hold their own against a group of, say, Airforce dentists. KAFFEE's in his late 20's, 15 months out of Harvard Law School, and a brilliant legal mind waiting for a courageous spirit to drive it. He is, at this point in his life, passionate about nothing... except maybe softball. KAFFEE (calling out to the team) Alright, let's get two! He smacks one to the SECOND BASE. The ball bounces right between his legs. SECOND BASE Sorry! KAFFEE Nothing to be sorry about, Sherby. Just look the ball into your glove. He smacks one out to the same place. It bounces off the heel of SHERBY's glove and into center field. SECOND BASE (SHERBY) Sorry! KAFFEE You gotta trust me, Sherby. You keep your eyes open, your chances of catching the ball increase by a factor of ten. SPRADLING, a young naval officer, sweaty and out of breath, walks up behind the backstop. SPRADLING Kaffee! KAFFEE Let's try it again. SPRADLING Kaffee!! KAFFEE (turning) Dave. You seem upset and distraught. SPRADLING We were supposed to meet in your office 15 minutes ago to talk about the McDermott case. You're stalling on this thing. Now we got this done and I mean now, or no kidding, Kaffee, I'll hang your boy from a fuckin' yardarm. KAFFEE A yardarm? (calling out) Sherby, does the Navy still hang people from yardarms? SHERBY (calling back) I don't think so, Danny. KAFFEE (back to SPRADLING) Dave, Sherby doesn't think the Navy hangs people from yardarms anymore. (back to the field) Let's go, let's get two! He goes back to hitting fungoes. SPRADLING I'm gonna charge him with possession and being under the influence while on duty. Plead guilty and I'll recommend 30 days in the brig with loss of rank and pay. KAFFEE It was oregano, Dave, it was ten dollars worth of oregano. SPRADLING Yeah, well your client thought it was marijuana. KAFFEE My client's a moron, that's not against the law. Swapp! The THIRD BASEMAN takes one in the face. KAFFEE (continuing) Ow. That had to hurt. (calling out) Way to keep your head in the play, Lester. Walk it off! SPRADLING I've got people to answer to just like you, I'm gonna charge him. KAFFEE With what, possession of a condiment? SPRADLING Kaffee -- KAFFEE Dave, I've tried to help you out of this, but if you ask for tall time, I'm gonna file a motion to dismiss. SPRADLING You won't got it. KAFFEE I will get it. And if the MTD is denied, I'll file a motion in liminee seeking to obtain evidentiary ruling in advance, and after that I'm gonna file against pre-trial confinement, and you're gonna spend an entire summer going blind on paperwork because a Signalman Second Class bought and smoked a dime bag of oregano. SPRADLING B Misdemeanor, 20 days in the brig. KAFFEE C Misdemeanor, 15 days restricted duty. SPRADLING I don't know why I'm agreeing to this. KAFFEE 'Cause you have wisdom beyond your years. Dave, can you play third base? INT. CONFERENCE ROOM - DAY About 16 NAVY AND MARINE LAWYERS (several of whom are women) are taking their seats around a large conference table. A PARALEGAL is handing out folders and some photocopied papers to the LAWYERS. We might notice that one of the lawyers is Lieutenant Junior Grade SAM WEINBERG. Sam's serious and studious looking. If he weren't in uniform, you wouldn't guess that he was a naval officer. CAPTAIN WHITAKER walks in. WHITAKER 'Morning. LAWYERS (school class) 'Morning Captain Whitaker. WHITAKER Sam, how's the baby? SAM I think she's ready to say her first word any day now. WHITAKER How can you tell? SAM She just looks like she has something to say. KAFFEE walks in. KAFFEE Excuse me, sorry I'm late. WHITAKER I'm sure you don't have a good excuse, so I won't force you to come up with a bad one. KAFFEE Thank you, Isaac, that's nice of you. WHITAKER Sit-down, this first one's for you. He hands KAFFEE some files. WHITAKER (continuing) You're moving up in the world, Danny, you've been requested by Division. "Oooh"'s and "Ahhh"'S from the other LAWYERS. (Subtle Note: Kaffee doesn't want to move up in the world.) KAFFEE Requested to do what? WHITAKER hands him a file. WHITAKER Guantanamo Bay, Cuba. A marine corporal named Dawson illegally fires a round from his weapon over the fenceline and into Cuban territory. KAFFEE What's a fenceline? WHITAKER Sam? SAM A big wall separating the good guys from the bad guys. KAFFEE Teachers pet. WHITAKER PFC William Santiago threatens to rat on Dawson to the Naval investigative Service. Dawson and another member of his squad, PFC Louden Downey, they go into Santiago's room, tie him up, and stuff a rag down his throat. An hour later, Santiago's dead. Attending physician says the rag was treated with some kind of toxin. KAFFEE They poisoned the rag? WHITAKER Not according to them. KAFFEE What do they say? WHITAKER Not much. They're being flown up here tomorrow and on Thursday at 0600 you'll catch a transport down to Cuba for the day to find out what you can. Meantime, go across the yard and see Lt. Commander Joanne Galloway. She's the one who had 'em brought up here. She'll fill you in on whatever she has. Any questions? KAFFEE The flight to Cuba, was that 0600 in the morning, sir? WHITAKER It seems important to Division that this one be handled by the book, so I'm assigning co-counsel. Any volunteers? SAM No. WHITAKER Sam. SAM I have a stack of paper on my desk -- WHITAKER Work with Kaffee on this. SAM Doing what? Kaffee'll finish this up in four days. WHITAKER Do various... administrative... you know... things. Back-up. Whatever. SAM In other words I have no responsibilities whatsoever. WHITAKER Right. SAM My kinda case. CUT TO: INT. JO'S OFFICE - DAY JO sits behind her desk. KAFFEE and SAM stand in the doorway. KAFFEE knocks politely. JO looks up. KAFFEE Hi. (beat) I'm Daniel Kaffee. I was told to meet with -- (checks notes) -- Commander Galloway. JO is staring at him. KAFFEE doesn't know why. KAFFEE (continuing) About a briefing. JO is finding this hard to believe. JO You're the attorney that Division assigned? KAFFEE I'm lead counsel. This is Sam Weinberg. SAM I have no responsibilities here whatsoever. JO's deeply puzzled. JO (beat) Come in, please, have a seat... KAFFEE and SAM come into the office and sit. JO (continuing) Lieutenant, how long have you been in the Navy? KAFFEE Going on nine months now. JO And how long have you been out of law school? KAFFEE A little over a year. JO (beat) I see. KAFFEE Have I done something wrong? JO No. It's just that when I petitioned Division to have counsel assigned, I was hoping I'd be taken seriously. KAFFEE and SAM exchange a look. KAFFEE (to JO) No offense taken, if you were wondering. SAM Commander, Lt. Kaffee's generally considered the best litigator in our office. He's successfully plea bargained 44 cases in nine months. KAFFEE One more, and I got a set of steak knives. JO Have you ever been in a courtroom? KAFFEE I once had my drivers license suspended. SAM Danny -- KAFFEE Commander, from what I understand, if this thing goes to court, they won't need a lawyer, they'll need a priest. JO No. They'll need a lawyer. During this, she'll hand KAFFEE a series of files, which KAFFEE will pass To SAM without even glancing at them. JO (continuing) Dawson's family has been contacted. Downey's closest living relative is Ginny Miller, his aunt on his mother's side, she hasn't been Contacted yet. None of this really means anything to KAFFEE. JO (continuing) Would you like me to take care of that? KAFFEE Sure, if you feel like it. JO takes another beat to size this guy up. JO One of the people you'll be speaking to down there is the barracks C.O., Colonel Nathan Jessep, I assume you've heard of him. KAFFEE (beat) Who hasn't? SAM (to KAFFEE) He's been in the papers lately. He's expected to be appointed Director of Operations for the National Security Counsel. Passing KAFFEE another file -- JO These are letters that Santiago wrote in his 8 months at GITMO -- SAM (whispering to kaffee) Guantanamo Bay. KAFFEE I know that one. JO He wrote to his recruiter, the fleet commander, HQ, Atlantic, even his senator. He wanted a transfer. Nobody was listening. You with me? KAFFEE Yes. JO This last letter to the Naval investigative Service -- She hands it to KAFFEE who hands it to Sam -- JO (continuing) -- where he offers information about Corporal Dawson's fenceline shooting in exchange for a transfer, was just a last ditch effort. KAFFEE Right. Is that all? JO (beat) Lieutenant, this letter makes it look like your client had a motive to kill Santiago. KAFFEE Gotcha. (beat) And Santiago is... who? JO (beat) The victim. KAFFEE (to SAM) Write that down. (to JO) Am I correct in assuming that these letters don't paint a flattering picture of marine corps life in Guantanamo Bay? JO Yes, among other -- KAFFEE And am I further right in assuming that a protracted investigation of this incident might cause some embarrassment for the security counsel guy. JO Colonel Jessep, yes, but -- KAFFEE Twelve years. JO I'm sorry? KAFFEE Twelve years. I can get it knocked down to Involuntary Manslaughter. Twelve years. JO You haven't talked to a witness, you haven't looked at a piece of paper. KAFFEE Pretty impressive, huh? JO You're gonna have to go deeper than just -- KAFFEE Commander, do you have some sort of jurisdiction here that I should know about? JO My job is to make sure you do your job. I'm special counsel for Internal Affairs, so my jurisdiction's pretty much in your face. Read the letters. You're not under any obligation, but I'd appreciate a report when you get back from Cuba. KAFFEE Sure. KAFFEE gets up without waiting for JO to say -- JO You're dismissed. KAFFEE Sorry, I always forget that. KAFFEE's gone. SAM's standing in the doorway. SAM He's a little preoccupied. (beat) The team's playing Bethesda Medical next week. JO Tell your friend not to get cute down there. The marines in Guantanimo are fanatical. SAM About what? And in VOICE OVER we HEAR -- SANTIAGO (V.O.) Dear Sir, JO About being marines. CUT TO: EXT. CUBAN FIELD - DAY SERIES OF SHOTS - DAY And while we HEAR the letter read in V.O., what we're seeing is this: SANTIAGO's life in Guantanimo Bay over the last 8 months. He had a rough time of it. THE SHOTS SHOULD INCLUDE: -- SANTIAGO running along at the rear of a group of MARINES. It's been over seven miles and he's matted with sweat. A SERGEANT runs up along side, grabs his back, and pushes him to keep up with the group. SANTIAGO falls, struggles to get back up and keep running, and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO doing push-ups alone in the rain. He's being supervised by a SERGEANT who sees to it that his face hits the mud every time down and CUT TO: INT. MESS HALL - DAY -- SANTIAGO sitting alone in the mess hall, not a friend within four seats of him and CUT TO: EXT. MARINE BARRACKS - DAY -- SANTIAGO being chewed out by a Lieutenant in front of his squad and CUT TO: EXT. ROCKY HILL - DAY -- SANTIAGO running with the squad of MARINES again, this time down a rocky hill. It's hot as hell and it looks like he's gonna pass out. He stumbles, and the SERGEANT picks him up and pushes him down the hill. He rolls about 30 feet before he stops. Over this, we HEAR SANTIAGO (V.O.) "...My name is PFC William T. Santiago. I am a marine stationed at Marine Barracks, Rifle Security Company Windward, Second Platoon Delta. I am writing to inform you of my problems with my unit here in Cuba and to ask for your help. I've fallen out on runs before for several reasons such as feeling dizzy or nauseated, but on May 18th, I'd fallen back about 20 or 30 yards going down a rocky, unstable hill. My sergeant grabbed me and pushed me down the hill. Then I saw all black and the last thing I remember is hitting the deck. I was brought to the hospital where I was told I just had heat exhaustion and was explained to by the doctor that my body has trouble with the hot sun and I hyperventilate. I ask you to help me. Please sir. I just need to be transferred out of RSC. Sincerely. PFC William T. Santiago. U.S. Marine Corps." At this point, with SANTIAGO's letter still in V.O., we CUT TO: INT. JESSEP'S OFFICE - DAY THE LETTER - DAY It's the last paragraph of the letter we've been hearing, and at the moment, we can't see the hands that are holding it. SANTIAGO (V.O.) "P.S. In exchange for my transfer off the base, I'm willing to provide you with information about an illegal fenceline shooting that occurred the night of August 2nd." And as these last words are spoken, we PULL BACK TO REVEAL COLONEL NATHAN R. JESSEP, who drops the letter he's been reading on his desk, where it joins a stack of other letters just like it. JESSEP's a born leader, considered in many circles to be one of the real fair-haired boys of the Corps. He's smart as a whip with a sense of humor to match. As soon as he drops the letter, he says JESSEP Who the fuck is PFC William T. Santiago. He's talking to his two senior officers. CAPTAIN MARKINSON is in his late 40's. He's a career marine and a nice guy in a world where nice guys may not finish last, but they sure as shit don't finish first. Lt. JONATHAN JAMES KENDRICK is 26, from Georgia, and an Academy graduate. If you asked him he'd tell you that the gates to heaven are guarded by the U.S. Marine Corps. KENDRICK Sir, Santiago is a member of Second Platoon, Delta. JESSEP Yeah, well, apparently he's not very happy down here at Shangri-La, cause he's written letters to everyone but Santa Claus asking for a transfer. And now he's telling tales about a fenceline shooting. He tosses the letter over to MARKINSON. MARKINSON is looking it over. JESSEP is waiting for a response. JESSEP (continuing) Matthew? MARKINSON I'm appalled, sir. JESSEP You're appalled? This kid broke the Chain of Command and he ratted on a man of his unit, to say nothing of the fact that he's a U.S. Marine and it would appear that he can't run from here to there without collapsing from heat exhaustion. What the fuck's going on over at Windward, Matthew? MARKINSON Colonel, I think perhaps it would be better to hold this discussion in private. KENDRICK That won't be necessary, Colonel, I'll handle the situation. MARKINSON The same way you handled the Curtis Barnes incident? You're doing something wrong, Lieutenant this -- KENDRICK My methods of leadership are -- MARKINSON Don't interrupt me, I'm still your superior officer. JESSEP And I'm yours, Matthew. The room calms down for a moment. JESSEP (continuing) I want to know what we're gonna do about this. MARKINSON I think Santiago should be transferred off the base. Right away. JESSEP He's that bad, huh? MARKINSON Not only that, but word of this letter's bound to get out. The kid's gonna get his ass kicked. JESSEP Transfer Santiago. Yes I suppose you're right. I suppose that's the thing to do. Wait. Wait. I've got a better idea. Let's transfer the whole squad off the base. Let's -- on second thought -- Windward. The whole Windward division, let's transfer 'em off the base. Jon, go on out there and get those boys down off the fence, they're packing their bags. (calling out) Tom! The ORDERLY cones in from the outer office. ORDERLY Sir! JESSEP Got me the President on the phone, we're surrendering our position in Cuba. ORDERLY Yes sir! JESSEP Wait a minute, Tom. The ORDERLY stops. JESSEP (continuing) Don't call the President just yet. Maybe we should consider this for a second. Maybe -- and I'm just spit balling here -- but maybe we as officers have a responsibility to train Santiago. Maybe we as officers have a responsibility to this country to see that the men and women charged with its security are trained professionals. Yes. I'm certain I once read that somewhere. And now I'm thinking that your suggestion of transferring Santiago, while expeditious, and certainly painless, might not be in a manner of speaking, the American way. Santiago stays where he is. We're gonna train the lad. You're in charge, Jon. Santiago doesn't make 4.1 on his next fitness report, I'm gonna blame you. Then I'm gonna kill you. KENDRICK Yes sir. MARKINSON I think that's a mistake, Colonel. JESSEP Matthew, I believe I will have that word in private with you now. Jon, that's all. Why don't you and I have lunch at the "O" club, we'll talk about the training of young William. KENDRICK Yes sir, I'd be delighted to hear any suggestions you have. JESSEP Dismissed. KENDRICK is gone. JESSEP (continuing) Matthew, sit, please. MARKINSON sits. JESSEP (continuing) What do you think of Kendrick? MARKINSON (beat) I don't know that -- JESSEP I think he's kind of a weasel, myself. But he's an awfully good officer, and in the end we see eye to eye on the best way to run a marine corps unit. We're in the business of saving lives, Matthew. That's a responsibility we have to take pretty seriously. And I believe that taking a marine who's not yet up to the job and packing him off to another assignment, puts lives in danger. MARKINSON starts to stand -- JESSEP (continuing) Matthew, siddown. (beat) We go back a while. We went to the Academy together, we were commissioned together, we did our tours in Vietnam together. But I've been promoted up through the chain with greater speed and success than you have. Now if that's a source of tension or embarrassment for you, well, I don't give a shit. We're in the business of saving lives, Captain Markinson. Don't ever question my orders in front of another officer. JESSEP grabs his hat and walks out, leaving MARKINSON sitting all alone, and we CUT TO: EXT. WASHINGTON NAVY YARD - MAIN GATE - DAY It's maybe a little hazier today than it was yesterday. An M.P. is waving a procession of three Military Police sedans and a fourth unmarked car through the gate. The cars drive through and we CUT TO: EXT. THE BRIG - DAY Another red-brick building. A few M.P.Is stand out front as the cars pull up. As soon as they come to a stop, all the doors swing open and various uniformed and non-uniformed officers hop out and move to the unmarked sedan where they escort DAWSON and DOWNEY, in handcuffs, out of the car. HAROLD DAWSON's a handsome, young, black corporal. Intense, controlled, and utterly professional. LOUDEN DOWNEY's a 19-year-old kid off an Iowa farm. He's happiest when someone is telling him exactly what to do. DAWSON's his hero. The two prisoners stand still for a moment. They might as we'll be in Oz. DOWNEY Hal? DAWSON doesn't say anything. DOWNEY (continuing) Is this Washington, D.C.? M.P. Alright, let's move. CUT TO: EXT. SOFTBALL FIELD - DAY and KAFFEE's at it again. KAFFEE Alright, let's get tough out there! JO walks up from behind the backstop. JO Excuse me. KAFFEE You want to suit up? We need all the help we can get. JO No, thank you, I can't throw and catch things. KAFFEE That's okay, neither can they. JO I wanted to talk to you about Corporal Dawson and Private Downey. KAFFEE Say again? JO Dawson and Downey. KAFFEE (beat) Those names sound like they should mean something to me, but I'm just not -- JO Dawson! Downey! Your clients! KAFFEE The Cuba thing! Yes! Dawson and Downey. (beat) Right. (pause) I've done something wrong again, haven't I? JO I was wondering why two guys have been in a jail cell since this morning while their lawyer is outside hitting a ball. KAFFEE We need the practice. JO That wasn't funny. KAFFEE It was a little funny. JO Lieutenant, would you feel very insulted if I recommended to your supervisor that he assign different counsel? KAFFEE Why? JO I don't think you're fit to handle this defense. KAFFEE You don't even know me. Ordinarily it takes someone hours to discover I'm not fit to handle a defense. Jo just stares. KAFFEE (continuing) Oh come on, that

doleful

How many times the word 'doleful' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

never

How many times the word 'never' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

porthole

How many times the word 'porthole' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

edges

How many times the word 'edges' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

crew

How many times the word 'crew' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

sees

How many times the word 'sees' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

beasts

How many times the word 'beasts' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

travelling

How many times the word 'travelling' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

clearly

How many times the word 'clearly' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

investors

How many times the word 'investors' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

sure

How many times the word 'sure' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

common

How many times the word 'common' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

prosperous

How many times the word 'prosperous' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

add

How many times the word 'add' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

labyrinthine

How many times the word 'labyrinthine' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

gallant

How many times the word 'gallant' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

vize

How many times the word 'vize' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

focussed

How many times the word 'focussed' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

each

How many times the word 'each' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

hesitating

How many times the word 'hesitating' appears in the text?

A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS crank in to life. DENHAM signs the CHEQUE, and hands it over with a FLOURISH ... D DENHAM (cont'd) (signing with a flourish) Voila! JACK snatches the CHEQUE and turns to leave. JACK Thanks... JACK glances at it. JACK (cont'd) Carl ... you've written "Two Grand". DENHAM takes the CHEQUE back ... DENHAM So I did ... Sorry about that (screwing it up) Let's start from the beginning. DENHAM (cont'd) (writing) "Two Thousand Dollars" ... ANGLE ON: The ship's PISTONS PUMP faster. DENHAM looks up at JACK, a confused look on his face. DENHAM (cont'd) It is the 29th, isn't it? JACK (anxious) Come on - it's the 25th, Carl, the 25th! 24. ANGLE ON: JACK suddenly realises the SHIP is about to leave. DENHAM I'm sorry. Let me just ... It'll just take a second. DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES picks up. JACK heads for the DOOR! JACK Never mind, pay me when you get back! DENHAM (knowing) Alright ... okay ... INT. ENGINE ROOM - NIGHT CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION. EXT. VENTURE STERN CRANE DOWN the stern of the ship as the PROPELLER kicks into action. INT. SHIP'S CORRIDOR - NIGHT NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON following behind laden with LUGGAGE. BRUCE is in his early thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING... but his career as a SCREEN ACTOR has badly stalled. PRESTON Your cabin's just down here, Mr. Baxter. May I say how excited we are to have you back with us, Sir. ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He feels the SHIP MOVING! He suddenly collides with BRUCE, who thrusts a SUITCASE at him. BRUCE Be a sport and lend us a hand. JACK Oh, Christ! JACK looks desperately out of the PORTHOLE, doubles back and BOLTS AWAY. BRUCE (dryly) Appreciate the help, fella. PRESTON Let me get the door for you - welcome to your state room sir. 25. INT. BRUCE'S CABIN - NIGHT ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He reacts to the SMELL. RESTON know, that's not a nice smell is it? I'm sure it'll disperse in a day or two. Did I ever mention how much I love your work, Mr. Baxter? I've seen every one of your pictures ... even the silent ones. RUCE I haven't made any silent ones. BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him silently CURSING to himself in the CORRIDOR. EXT. VENTURE WHEELHOUSE - NIGHT ANGLE ON: The PROPELLER CHURNS through the WATER ... ENGLEHORN watches the VENTURE pull away from the dock ... Satisfied, he enters the WHEELHOUSE ... ENGLEHORN Dead slow ahead both, Mr Hayes. HAYES Dead slow ahead both, Captain. EXT. VENTURE/NY DOCKS - NIGHT ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and rushes to the RAIL of the SHIP ... he freezes in HORROR! JACK Oh Christ! ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ... 7 feet ... JACK contemplates JUMPING for a MOMENT: JACK (cont'd) Goddammit! EXT. NY DOCKS POLICE CARS race along the docks towards the VENTURE, SIRENS wailing. EXT. VENTURE DECK - NIGHT JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to get off the ship. 26. DENHAM steps up behind JACK, just as a POLICE CAR, followed by ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE. DENHAM I keep telling you, Jack, there's no money in theatre. CUT TO: EXT. NY DOCKS - NIGHT The INVESTORS leap out of the car. SLEAZY INVESTOR No, no, no! EXT. VENTURE DECK - NIGHT The VENTURE steams past the LIGHTS of MANHATTAN. DENHAM You're much better off sticking with film. JACK I don't do it for the money, Carl. I happen to love the theatre. DENHAM o, you don't. JACK looks at him exasperated as DENHAM casually taps his PIPE on the RAIL of the BOAT. DENHAM (cont'd) If you really loved it, you would have jumped. EXT. NY DOCKS - NIGHT WIDE ON: ZELMAN throws his hat to the ground in anger as THE VENTURE pulls away from the docks. EXT. NEW YORK HARBOUR - NIGHT WIDE ON: The VENTURE steams away from the DOCKS, passing under the MANHATTAN BRIDGE. INT. ANN'S CABIN - NIGHT CLOSE ON: ANN tests her mattress with her hands. ANN straightens & turns, perching on the edge of the BUNK. 27. PRESTON (apologetic) I hope you find it to your liking... it's quite comfortable. Your towels and linens are underneath the bed. That is the wash basin. I know, that's not a pleasant smell - is it? I'm sure it'll disperse in a day or two. RESTON dances over to the WARDROBE. PRESTON (cont'd) The closet ... your costumes - I hope you'll find everything is in order. If there is anything that you need, please do not hesitate to ask...fresh water, perhaps? I can bring it to you personally. PRESTON is interrupted by a knock on the CABIN DOOR... ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of JOHNNY WALKER SCOTCH into ANN'S HANDS ... DENHAM Knock knock! We can't have our leading lady deprived of the necessities of life. to PRESTON) Do me a favour - run a bottle down to Jack. It'll fend off his migraine. PRESTON They're still trying to find a place for him to sleep. DENHAM (to PRESTON) You told him my typewriter is available for hire? RESTON Yes - he didn't take it well. PRESTON departs down the corridor. ANN (confused) Mr. Driscoll ...? DENHAM turns and looks at ANN. ANN (cont'd) He's on board? DENHAM Jack has his heart set on coming. Call me a softie - I couldn't say no. 28. INT. SHIPS HOLD - NIGHT ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying BLANKETS. JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL. CHOY This room very comfortable, plenty dim light ... fresh straw. JACK What'd you keep down here? CHOY Lion, tiger, hippo - you name it. Jack What, do you sell them to Zoos? CHOY Zoos ... circus ... (lowers voice) Skipper get big money for rare animal. (alarmed) Careful! Camel have bad accident on floor. Stain unremovable ... JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE. CHOY (cont'd) (lowers voice) Skipper catch any animal you want. He do you real good price on rhite wino. E ENGLEHORN (sternly) Choy! ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold. ENGLEHORN (cont'd) My apologies for not being able to offer you a cabin. Have you found an enclosure to your taste? JACK (dryly) Spoilt for choice. ENGLEHORN surveys a COUPLE OF LARGE CAGES. ENGLEHORN What are you, Mr. Driscoll, a lion or a chimpanzee? JACK opens a CAGE large enough to sleep in. 29. JACK Maybe, I'll take this one. He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT. E ENGLEHORN I told you to lock it up. CHOY (scared) Sorry, Skipper! Lumpy said - ENGLEHORN (interrupts) Lumpy doesn't give the orders. What are you trying to do? Put the whole ship to sleep? Get them out of here! ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the CRATES stacked in the CAGE. CLOSE ON: Piles of BOTTLES, all marked "Chloroform". EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. INT. BRUCE'S CABIN - DAY NGLE ON: BRUCE pins movie posters from some of his previous films on his cabin wall ... He steps back, admiring them. INT. SHIPS HOLD - DAY ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS UP. JIMMY Compliments of the chef - ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the TRAY. LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look at it, and SQUEEZES his eyes closed. JACK (O.S.) Oh Christ - oh God! JIMMY Lambs brains in walnut sauce. 30. The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY walks away. ANGLE ON: JACK looking very nauseated ... HAYES (O.S.) Jimmy! JIMMY spins round, a guilty look on his face. HAYES (cont'd) You run those ropes up on deck like I told you? JIMMY Doing it now, Mr. Hayes. ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST. HAYES How about you return Mr. Driscoll's pen first? CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and clatters to the floor. QUICK as an eel, JIMMY scampers AWAY. HAYES shakes his head, and picks up the PEN ... hands it back. HAYES (cont'd) He doesn't mean any harm. I'll keep him out of Jyour way. ACK No, it's okay. HAYES It's just he likes it down here, it's where I found him ... four years ago ... stowed away in one of them cages. His arm was broken in two places, he was wilder than half the animals in here. Still won't tell me where he came from - all I know, it wasn't any place good. EXT. VENTURE DECK - DAY ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests against the railing. HAYES You gotta straighten up. You don't want to be on this ship for the rest of your life. JIMMY I do. 31. HAYES No, you don't, Jimmy. You wanna get yourself educated. Give yourself some options. Take this serious. JIMMY I do, Mr. Hayes, I do! Look, I've been readin'. JIMMY pulls a battered book out of his coat pocket. HAYES takes the book. It has a painting of a TRAMP STEAMER on the cover and the title: HEART OF DARKNESS by Joseph Conrad. HAYES Where did you get this? JIMMY (prevaricating) I borrowed it ... HAYES flicks the book open and sees "Property of New York Public Library" stamped on the interior of the dust jacket. JIMMY (cont'd) ... on long term loan. Look at this. JIMMY points to the printed byline on the back of the book. JIMMY (cont'd) "Adventures on a Tramp Steamer". See - just like us. EXT. VENTURE/OCEAN WIDE ON: The VENTURE as it cuts through open OCEAN. INT. ANN'S CABIN - DAY ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is standing in front of a mirror rehearsing her introduction. ANN It's nice to meet you Mr. Driscoll - I'm actually quite familiar with your work. (trying again) Oh yes! ... Hello, Mr Driscoll - it's so nice to meet you! Actually, I'm quite familiar with your work. I'm a huge fan! (one more time) I've read everything you've ever written. ANN'S face falls in DESPAIR - she can't get rid of her nerves about meeting the famous JACK DRISCOLL. 32. INT. MESS ROOM - DAY A few sailors are finishing BREAKFAST. PRESTON, HERB and MIKE are seated at a TABLE. ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING EQUIPMENT. M IKE I'm gonna have the ships' engines all over the dialogue - sea gulls, camera noise, wind and Christ knows what else! DENHAM I don't care, Mike! You're the sound recordist - make it work. ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of the MESS. DENHAM looks up and signals her over. DENHAM (cont'd) Ann! Come on in! Let me introduce you to the crew! This is Herb - our cameraman ... ANN reaches out to shake HERB'S hand. HERB Delighted to meet you, ma'am. And may I say what a lovely dress. ANN Oh! This old thing! I just - threw it on! PRESTON (confused to DENHAM) Isn't that one of Maureen's costumes? ANN (hurriedly) What does a girl have to do round here to get some breakfast! DENHAM Lumpy! You heard the lady! ANGLE ON: LUMPY looking up. He is simultaneously shaving a SAILOR and stirring PORRIDGE. LUMPY Fancy some of me ... ah ... Porridge aux walnuts? 33. DENHAM turns back to ANN, who is staring at MIKE, who has his head down, scribbling in a NOTEBOOK. DENHAM ANN, I don't believe you've met - ANN That's alright Mr. Denham, I know who this is ... ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up at her, nervously. ANN (cont'd) Thrilled to meet you. It's an honour - to be part of this. MIKE (bewildered) Gee, thanks! ANN Actually - I am quite familiar with your work. ANGLE ON: DENHAM raises a quizzical EYEBROW. MIKE Really? ANN Yes, and what I most admire - is the way you have captured the voice of the common people. MIKE Well - that's my job. ANN I'm sure you've heard this before, Mr Driscoll, if you don't mind me saying - you don't look at all like your photograph ... A NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns and glances at ANN. MIKE Excuse me? DENHAM Wait a minute! Ann - ANN (to DENHAM) Well, he's so much younger - in person. (turning back to MIKE) And much better looking. 34. JACK starts to walk over to the table. DENHAM ANN! Stop! Stop - right there - ANGLE ON: MIKE staring past ANN'S shoulder. ANN I was afraid you might be one of those self obsessed literary types. You know - the tweedy twerp with his nose in a book and his head up his - JACK snaps his BOOK closed. ANN turns around ... her face drops. JACK looks at ANN, who stares at him MORTIFIED. JACK It's nice to meet you too, Miss Darrow.. INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY RUCE bumps into JIMMY who hurries away looking shifty. BRUCE enters his CABIN ... A moustache has been drawn on all his POSTERS. BRUCE looks annoyed ... then takes another look. CLOSE ON: BRUCE glancing in the mirror - imaging himself with a moustache. Not bad. EXT. VENTURE - DAY WIDE ON: The VENTURE ploughs through a HEAVY SWELL. DENHAM (V.O.) She's standing at the railing ... she doesn't know it yet, but they're sailing towards disaster. You got that? JACK (V.O.) She turns ... The First Mate is staggering towards her - there's a knife sticking out of his back! INT. SHIPS HOLD ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER propped up on BOXES. He is clearly very QUEASY, as he tries to stay focussed on the TYPEWRITER KEYS. DENHAM is pacing the HOLD, sucking on a PIPE. DENHAM ait a second, we're killing off the First Mate? 35. JACK That's assuming she knows who the First Mate is. DENHAM Come on, Jack! It was an honest mistake. Ann is near-sighted - it could happen to anyone. JACK I was joking, Carl. DENHAM The point is: she's horrified. She has to look away. And that's when she sees it. JACK See's what? What? ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in to the HOLD ... DENHAM (dramatic) The island. JACK (taken aback) We're filming on an island now? When did this happen? DENHAM Jack, keep your voice down! I don't want the crew getting spooked. JACK Why would they get spooked? What's it called? DENHAM looks SHIFTY. DENHAM All right ... It has a local name, but I'm warning you, Jack, it doesn't sound good. ANGLE ON: JIMMY, his attention caught as he eavesdrops on the conversation. JACK looks at DENHAM in GROWING FRUSTRATION. DENHAM (cont'd) (quietly) They call it ... (muffled) JIMMY POV: DENHAM leaning in and murmuring to JACK. 36. JACK What's wrong with this place? DENHAM There's nothing officially wrong with it. Because technically it hasn't been discovered yet. JACK gives up, feeling too seasick to argue ... JACK (resuming typing) Okay ... alright ... so we arrive at ( this place ... typing) S ... k ... u ... CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their eyes meet ... DENHAM tries to hush JACK - too late. JACK (cont'd) l ... l ... Island. EXT. VENTURE/OCEAN - DAY NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim alongside. EXT. VENTURE DECK - DAY IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his crew, HERB and MIKE and PRESTON. DENHAM All right everyone, from the top. And ... action! ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail, staring out to sea, in full hair and make-up. ANN I think this is awfully exciting! I've never been on a ship before. BRUCE I've never been on one with a woman before. ANN I guess you don't think much of women on ships, do you? BRUCE No, they're a nuisance. ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are further down the DECK ... talking quietly. 37. ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK. ANN (O.S.) Well, I'll try not to be. BRUCE (O.S.) Just being around is trouble. ANN (O.S.) Well! Is that a nice thing to say! BRUCE (O.S.) It's a dangerous thing, having girls on ships. They're messy and they're unreliable! DENHAM (distracted) Cut! Great! NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled in a group with three more SAILORS ... word is travelling fast. DENHAM (cont'd) Bruce, wonderful performance. You can relax for ten minutes. ANGLE ON: BRUCE looking pretty pleased with himself. DENHAM (cont'd) That was very natural... I felt moved. JACK looks on in disbelief. B ANGLE ON: BRUCE walking past JACK ... RUCE hat do you think, Driscoll? The dialogue's got some flow now - huh? JACK It was pure effluence. BRUCE beefed up the banter ... JACK Try to resist that impulse. BRUCE It's just a little humor, Bud - what are you, a Bolshevik or something? JACK watches as BRUCE saunters off ... he turns back to DENHAM. JACK Actors. They travel the world but all they ever see is a mirror! 38. JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in her hand ... She quickly snaps the COMPACT shut and turns away. CLOSE ON: JACK - taken aback. INT. SHIP'S CORRIDOR - DAY ANN is making her way to the BATHROOM. She looks up as JACK rounds a corner coming the other way. They walk toward each other. SUDDENLY the ship sways, JACK is thrown forward, but ANN manages to hold her BALANCE. JACK Good legs. ANN looks at him SHARPLY. JACK (cont'd) Sea legs - I meant - you know ... sea legs. Not that you don't have good legs, I was just ... JACK trails off as ANN edges past him, averting her eyes. JACK (cont'd) ... making conversation. Jesus! (calling) Miss Darrow! ANN stops and turns ... JACK (cont'd) About the scene - today, with you and Bruce - ANN I know, it wasn't what you wrote. But Mr Baxter felt very strongly that when a man likes a woman - then he must ignore her. And if things turn really hostile ... no? JACK Interesting theory. ANN I know ... I should have - JACK It wasn't what I had intended ... but it - ANN I'm sorry - I was ... 39. JACK You made it your own ... ANN I was nervous. JACK It was funny, actually ... you were funny. ANN Please - don't say another word. Good night. ANN goes to close her CABIN DOOR. ACK Miss Darrow ... ANN looks at him. JACK (cont'd) You don't have to be nervous. EXT. VENTURE DECK - SUNSET CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE. DENHAM is caught up in the scene and is EMOTING FURIOUSLY. NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind of way ... A NGLE ON: JACK approaching, he is reading pages in his HAND, he looks up just as ... ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the SETTING SUN. ANN stares at JACK, momentarily forgetting where she is. He stares back at her. CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the script pages off JACK and shoos him away ... EXT. WHEELHOUSE - DUSK ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE. INT. WHEELHOUSE - NIGHT CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS. DENHAM We're close. Head south-west. 40. ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers nearby in the doorway. ENGLEHORN There's no land south-west for thousands of miles. It takes us way outside the shipping lanes. ENGLEHORN turns and confronts DENHAM. ENGLEHORN (cont'd) I won't sail blind in these waters. DENHAM 'll make it worth your while. NGLE ON: ENGLEHORN ... tempted by the offer of more money, but his instincts are telling him to not to agree. ENGLEHORN There's nothing out there. DENHAM hen you've nothing to lose. ANGLE ON: ENGLEHORN: conflicted. EXT. VENTURE/OCEAN - DUSK IDE ON: THE VENTURE steams on as the SUN falls slowly behind the horizon ... INT. MESS ROOM - NIGHT ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly. ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON & DENHAM. HAYES If someone were to tell you this ship is headed for Singapore, what would you say? 41. ANGLE ON: LUMPY is standing quietly honing a knife with a whet- stone ... it makes a L sharp sound ... LUMPY I would say they was full of it, Mr. Hayes. We turned south-west last night. LOSE ON: DENHAM looks up sharply ... HAYES is standing over him. DENHAM Gentlemen please, we're not looking for trouble - ANGLE ON: JIMMY enters the MESS from behind him... JIMMY No. You're looking for something else ... PRESTON glances warily at DENHAM. DENHAM takes in the situation and decides to front up. DENHAM (quietly) Yes .... we are. We're gonna find Skull Island! We're gonna find it, film it and show it to the world. For twenty five cents you get to see the last blank space on the map! LUMPY I wouldn't be so sure of that. PRESTON What do you mean? LUMPY Seven years ago, me and Mr Hayes - we were working our passage on a Norwegian barque. HAYES We picked up a castaway - found him in the water - he'd been drifting for days. LUMPY His ship had run aground on an island, way West of Sumatra. An island hidden in fog. He spoke of a huge wall, built so long ago - no one knew who had made it ... A wall a hundred foot high ... as strong today as it was, ages ago. PRESTON Why did they build the wall? SILENCE ... 42. LUMPY The castaway - he spoke of a creature, neither beast nor man, but something monstrous, living behind that wall... DENHAM A lion or a tiger. A man-eater. That's how all these stories start. PRESTON (to LUMPY) What else did he say? LUMPY Nothing. We found him the next morning ... he'd stuck a knife through his heart. NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD. DENHAM orry fellas, you'll have to do better than that. Monsters belong in B movies! NGLE ON: PRESTON & DENHAM making a rapid exit. HAYES If you find this place - DENHAM and PRESTON stop and turn back ... HAYES (cont'd) If you go ashore with your friends and your cameras ... you won't come back ... Just so long as you understand that. INT. ENGINE ROOM - NIGHT The ENGINEERS shovel more COAL into the FURNACE ... The relentless rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ... INT. PRESTON'S CABIN - NIGHT PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE MAP WITH THE WORDS `FOG'. WIDE ON: THE STERN of the VENTURE cuts through the swell then AERIAL up over the top of the boat. INT. VENTURE HOLD - NIGHT t is late at night. JACK sits on his make shift bed, his typewriter balanced on his lap ... intent on what he is writing. 43. EXT. VENTURE DECK - DUSK ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by some SAILORS playing various MUSICAL INSTRUMENTS. CLOSE ON: JACK watching her ... INT. VENTURE HOLD - NIGHT NGLE ON: JACK continues typing. EXT. WHEELHOUSE - NIGHT ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN comes out of the WHEELHOUSE ... some charts in his HAND ... INT. WHEELHOUSE - NIGHT HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a CIGARETTE in his hand. There is a PALPABLE sense of tension in the AIR. HAYES (tense) How long do you expect us to stay out here? ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES. INT. ANN'S CABIN - NIGHT ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She smiles as she turns pages of a loose leaf manuscript. ANN looks up at JACK. ANN (surprised) You're writing a stage comedy? JACK I'm writing it for you. ANN looks at him, taken aback. ANN Why would you do that? JACK Why would I write a play for you? ANN Yes. 44. JACK Isn't it obvious? ANN Not to me. JACK Well, it's in the sub-text. ANN I guess I must've missed it. JACK It's not about words ... ANN looks at him uncertainly ... as JACK moves towards her ... He takes her in his arms and kisses her. CUT TO: INT. WHEELHOUSE - NIGHT CLOSE ON: THE RADIO OPERATOR receiving MESSAGE. CUT TO: INT. ANN'S CABIN - NIGHT CLOSE ON: JACK and ANN still KISSING. CUT TO: INT. WHEELHOUSE - NIGHT ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN. RADIO OPERATOR Message for you, Captain. EXT. VENTURE/OCEAN - NIGHT AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP slowly turns ... EXT. WHEELHOUSE - NIGHT NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE. DENHAM (calling) What's going on? 45. INT. WHEELHOUSE - NIGHT HAYES manning the WHEEL, looks at DENHAM briefly ... DENHAM Hayes! Why are we turning around? LOSE ON: ENGLEHORN enters the CABIN ... DENHAM (cont'd) (blustering) Englehorn, you can't just ... ENGLEHORN (curt) Outside! EXT. WHEELHOUSE, VENTURE DECK - NIGHT ENGLEHORN There's a warrant out for your arrest. Did you know that? I've been ordered to divert to Rangoon. DENHAM nother week - I haven't got a film yet. Please - I have risked everything I have on this! ENGLEHORN No, Denham - you risked everything I have. D DENHAM What do you want? Tell me what you want? I'll give you anything. ENGLEHORN regards DENHAM with cool detachment ... ENGLEHORN I want you off my ship. ENGLEHORN heads back to the DOOR of the WHEELHOUSE. ENGLEHORN (cont'd) Set a course for Rangoon, Mr Hayes. EXT. OCEAN - NIGHT IDE ON: The VENTURE as it ploughs through the SWELL. EXT. VENTURE DECK - NIGHT DENHAM is leaning over the railing. 46. DENHAM I'm finished. It's over for me, Jack. JACK How did you think this would end, Carl? INT. WHEELHOUSE, VENTURE - NIGHT CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S COMPASS ... it is swinging wildly to and fro. HAYES (calling) Captain ... CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes the wheel from HAYES. ENGLEHORN Check our position. Use the stars. ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a SEXTANT. ... he looks up at the SKY and his face hardens with concern. ANGLE ON: ENGLEHORN looks across as HAYES appears at the WHEELHOUSE DOOR. HAYES (ominous) There are no stars, Captain. CUT TO: EXT. VENTURE DECK - NIGHT CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS. CLOSE ON: DENHAM leaning on the RAILING staring absently out to SEA. Behind him JACK is looking at the MAP in his HANDS. JACK What is that? DENHAM (distracted) What? CLOSE ON: JACK'S EYE is caught by something on the PAPER. He shifts the MAP around, turning it upside down. JACK That. JACK walks over to the railing and hands the MAP to DENHAM. 47. DENHAM I don't know ... what is it, a coffee stain? DENHAM looks hard at the map, suddenly a look of intrigue dawning on his face. SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ... LOSE ON: DENHAM is CAPTIVATED ... CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE kindles in his EYES. CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to become clear - a GORILLA-LIKE FACE. ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN. DENHAM's eyes shift upwards ... AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND and blows it overboard ... whirling it out to SEA ... EXT. OCEAN - NIGHT ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE steams away ... . .. into a HUGE BANK of FOG that seems to melt out of the DARKNESS! Another BLAST from the FOG HORN echoes across the silent ocean. EXT. VENTURE DECK - NIGHT

alright

How many times the word 'alright' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

saluting

How many times the word 'saluting' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

living

How many times the word 'living' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

strife

How many times the word 'strife' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

ideas

How many times the word 'ideas' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

devil

How many times the word 'devil' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

secret

How many times the word 'secret' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

like

How many times the word 'like' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

torrent

How many times the word 'torrent' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

disposition

How many times the word 'disposition' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

currents

How many times the word 'currents' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

purloined

How many times the word 'purloined' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

agitated

How many times the word 'agitated' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

appear

How many times the word 'appear' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

night

How many times the word 'night' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

cried

How many times the word 'cried' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

always

How many times the word 'always' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

bad

How many times the word 'bad' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

capataz

How many times the word 'capataz' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

orleans

How many times the word 'orleans' appears in the text?

A man haunted by a fixed idea is insane. He is dangerous even if that idea is an idea of justice; for may he not bring the heaven down pitilessly upon a loved head? The eyes of Mrs. Gould, watching her husband's profile, filled with tears again. And again she seemed to see the despair of the unfortunate Antonia. "What would I have done if Charley had been drowned while we were engaged?" she exclaimed, mentally, with horror. Her heart turned to ice, while her cheeks flamed up as if scorched by the blaze of a funeral pyre consuming all her earthly affections. The tears burst out of her eyes. "Antonia will kill herself!" she cried out. This cry fell into the silence of the room with strangely little effect. Only the doctor, crumbling up a piece of bread, with his head inclined on one side, raised his face, and the few long hairs sticking out of his shaggy eyebrows stirred in a slight frown. Dr. Monygham thought quite sincerely that Decoud was a singularly unworthy object for any woman's affection. Then he lowered his head again, with a curl of his lip, and his heart full of tender admiration for Mrs. Gould. "She thinks of that girl," he said to himself; "she thinks of the Viola children; she thinks of me; of the wounded; of the miners; she always thinks of everybody who is poor and miserable! But what will she do if Charles gets the worst of it in this infernal scrimmage those confounded Avellanos have drawn him into? No one seems to be thinking of her." Charles Gould, staring at the wall, pursued his reflections subtly. "I shall write to Holroyd that the San Tome mine is big enough to take in hand the making of a new State. It'll please him. It'll reconcile him to the risk." But was Barrios really available? Perhaps. But he was inaccessible. To send off a boat to Cayta was no longer possible, since Sotillo was master of the harbour, and had a steamer at his disposal. And now, with all the democrats in the province up, and every Campo township in a state of disturbance, where could he find a man who would make his way successfully overland to Cayta with a message, a ten days' ride at least; a man of courage and resolution, who would avoid arrest or murder, and if arrested would faithfully eat the paper? The Capataz de Cargadores would have been just such a man. But the Capataz of the Cargadores was no more. And Charles Gould, withdrawing his eyes from the wall, said gently, "That Hirsch! What an extraordinary thing! Saved himself by clinging to the anchor, did he? I had no idea that he was still in Sulaco. I thought he had gone back overland to Esmeralda more than a week ago. He came here once to talk to me about his hide business and some other things. I made it clear to him that nothing could be done." "He was afraid to start back on account of Hernandez being about," remarked the doctor. "And but for him we might not have known anything of what has happened," marvelled Charles Gould. Mrs. Gould cried out-- "Antonia must not know! She must not be told. Not now." "Nobody's likely to carry the news," remarked the doctor. "It's no one's interest. Moreover, the people here are afraid of Hernandez as if he were the devil." He turned to Charles Gould. "It's even awkward, because if you wanted to communicate with the refugees you could find no messenger. When Hernandez was ranging hundreds of miles away from here the Sulaco populace used to shudder at the tales of him roasting his prisoners alive." "Yes," murmured Charles Gould; "Captain Mitchell's Capataz was the only man in the town who had seen Hernandez eye to eye. Father Corbelan employed him. He opened the communications first. It is a pity that--" His voice was covered by the booming of the great bell of the cathedral. Three single strokes, one after another, burst out explosively, dying away in deep and mellow vibrations. And then all the bells in the tower of every church, convent, or chapel in town, even those that had remained shut up for years, pealed out together with a crash. In this furious flood of metallic uproar there was a power of suggesting images of strife and violence which blanched Mrs. Gould's cheek. Basilio, who had been waiting at table, shrinking within himself, clung to the sideboard with chattering teeth. It was impossible to hear yourself speak. "Shut these windows!" Charles Gould yelled at him, angrily. All the other servants, terrified at what they took for the signal of a general massacre, had rushed upstairs, tumbling over each other, men and women, the obscure and generally invisible population of the ground floor on the four sides of the patio. The women, screaming "Misericordia!" ran right into the room, and, falling on their knees against the walls, began to cross themselves convulsively. The staring heads of men blocked the doorway in an instant--mozos from the stable, gardeners, nondescript helpers living on the crumbs of the munificent house--and Charles Gould beheld all the extent of his domestic establishment, even to the gatekeeper. This was a half-paralyzed old man, whose long white locks fell down to his shoulders: an heirloom taken up by Charles Gould's familial piety. He could remember Henry Gould, an Englishman and a Costaguanero of the second generation, chief of the Sulaco province; he had been his personal mozo years and years ago in peace and war; had been allowed to attend his master in prison; had, on the fatal morning, followed the firing squad; and, peeping from behind one of the cypresses growing along the wall of the Franciscan Convent, had seen, with his eyes starting out of his head, Don Enrique throw up his hands and fall with his face in the dust. Charles Gould noted particularly the big patriarchal head of that witness in the rear of the other servants. But he was surprised to see a shrivelled old hag or two, of whose existence within the walls of his house he had not been aware. They must have been the mothers, or even the grandmothers of some of his people. There were a few children, too, more or less naked, crying and clinging to the legs of their elders. He had never before noticed any sign of a child in his patio. Even Leonarda, the camerista, came in a fright, pushing through, with her spoiled, pouting face of a favourite maid, leading the Viola girls by the hand. The crockery rattled on table and sideboard, and the whole house seemed to sway in the deafening wave of sound. CHAPTER FIVE During the night the expectant populace had taken possession of all the belfries in the town in order to welcome Pedrito Montero, who was making his entry after having slept the night in Rincon. And first came straggling in through the land gate the armed mob of all colours, complexions, types, and states of raggedness, calling themselves the Sulaco National Guard, and commanded by Senor Gamacho. Through the middle of the street streamed, like a torrent of rubbish, a mass of straw hats, ponchos, gun-barrels, with an enormous green and yellow flag flapping in their midst, in a cloud of dust, to the furious beating of drums. The spectators recoiled against the walls of the houses shouting their Vivas! Behind the rabble could be seen the lances of the cavalry, the "army" of Pedro Montero. He advanced between Senores Fuentes and Gamacho at the head of his llaneros, who had accomplished the feat of crossing the Paramos of the Higuerota in a snow-storm. They rode four abreast, mounted on confiscated Campo horses, clad in the heterogeneous stock of roadside stores they had looted hurriedly in their rapid ride through the northern part of the province; for Pedro Montero had been in a great hurry to occupy Sulaco. The handkerchiefs knotted loosely around their bare throats were glaringly new, and all the right sleeves of their cotton shirts had been cut off close to the shoulder for greater freedom in throwing the lazo. Emaciated greybeards rode by the side of lean dark youths, marked by all the hardships of campaigning, with strips of raw beef twined round the crowns of their hats, and huge iron spurs fastened to their naked heels. Those that in the passes of the mountain had lost their lances had provided themselves with the goads used by the Campo cattlemen: slender shafts of palm fully ten feet long, with a lot of loose rings jingling under the ironshod point. They were armed with knives and revolvers. A haggard fearlessness characterized the expression of all these sun-blacked countenances; they glared down haughtily with their scorched eyes at the crowd, or, blinking upwards insolently, pointed out to each other some particular head amongst the women at the windows. When they had ridden into the Plaza and caught sight of the equestrian statue of the King dazzlingly white in the sunshine, towering enormous and motionless above the surges of the crowd, with its eternal gesture of saluting, a murmur of surprise ran through their ranks. "What is that saint in the big hat?" they asked each other. They were a good sample of the cavalry of the plains with which Pedro Montero had helped so much the victorious career of his brother the general. The influence which that man, brought up in coast towns, acquired in a short time over the plainsmen of the Republic can be ascribed only to a genius for treachery of so effective a kind that it must have appeared to those violent men but little removed from a state of utter savagery, as the perfection of sagacity and virtue. The popular lore of all nations testifies that duplicity and cunning, together with bodily strength, were looked upon, even more than courage, as heroic virtues by primitive mankind. To overcome your adversary was the great affair of life. Courage was taken for granted. But the use of intelligence awakened wonder and respect. Stratagems, providing they did not fail, were honourable; the easy massacre of an unsuspecting enemy evoked no feelings but those of gladness, pride, and admiration. Not perhaps that primitive men were more faithless than their descendants of to-day, but that they went straighter to their aim, and were more artless in their recognition of success as the only standard of morality. We have changed since. The use of intelligence awakens little wonder and less respect. But the ignorant and barbarous plainsmen engaging in civil strife followed willingly a leader who often managed to deliver their enemies bound, as it were, into their hands. Pedro Montero had a talent for lulling his adversaries into a sense of security. And as men learn wisdom with extreme slowness, and are always ready to believe promises that flatter their secret hopes, Pedro Montero was successful time after time. Whether only a servant or some inferior official in the Costaguana Legation in Paris, he had rushed back to his country directly he heard that his brother had emerged from the obscurity of his frontier commandancia. He had managed to deceive by his gift of plausibility the chiefs of the Ribierist movement in the capital, and even the acute agent of the San Tome mine had failed to understand him thoroughly. At once he had obtained an enormous influence over his brother. They were very much alike in appearance, both bald, with bunches of crisp hair above their ears, arguing the presence of some negro blood. Only Pedro was smaller than the general, more delicate altogether, with an ape-like faculty for imitating all the outward signs of refinement and distinction, and with a parrot-like talent for languages. Both brothers had received some elementary instruction by the munificence of a great European traveller, to whom their father had been a body-servant during his journeys in the interior of the country. In General Montero's case it enabled him to rise from the ranks. Pedrito, the younger, incorrigibly lazy and slovenly, had drifted aimlessly from one coast town to another, hanging about counting-houses, attaching himself to strangers as a sort of valet-de-place, picking up an easy and disreputable living. His ability to read did nothing for him but fill his head with absurd visions. His actions were usually determined by motives so improbable in themselves as to escape the penetration of a rational person. Thus at first sight the agent of the Gould Concession in Sta. Marta had credited him with the possession of sane views, and even with a restraining power over the general's everlastingly discontented vanity. It could never have entered his head that Pedrito Montero, lackey or inferior scribe, lodged in the garrets of the various Parisian hotels where the Costaguana Legation used to shelter its diplomatic dignity, had been devouring the lighter sort of historical works in the French language, such, for instance as the books of Imbert de Saint Amand upon the Second Empire. But Pedrito had been struck by the splendour of a brilliant court, and had conceived the idea of an existence for himself where, like the Duc de Morny, he would associate the command of every pleasure with the conduct of political affairs and enjoy power supremely in every way. Nobody could have guessed that. And yet this was one of the immediate causes of the Monterist Revolution. This will appear less incredible by the reflection that the fundamental causes were the same as ever, rooted in the political immaturity of the people, in the indolence of the upper classes and the mental darkness of the lower. Pedrito Montero saw in the elevation of his brother the road wide open to his wildest imaginings. This was what made the Monterist pronunciamiento so unpreventable. The general himself probably could have been bought off, pacified with flatteries, despatched on a diplomatic mission to Europe. It was his brother who had egged him on from first to last. He wanted to become the most brilliant statesman of South America. He did not desire supreme power. He would have been afraid of its labour and risk, in fact. Before all, Pedrito Montero, taught by his European experience, meant to acquire a serious fortune for himself. With this object in view he obtained from his brother, on the very morrow of the successful battle, the permission to push on over the mountains and take possession of Sulaco. Sulaco was the land of future prosperity, the chosen land of material progress, the only province in the Republic of interest to European capitalists. Pedrito Montero, following the example of the Duc de Morny, meant to have his share of this prosperity. This is what he meant literally. Now his brother was master of the country, whether as President, Dictator, or even as Emperor--why not as an Emperor?--he meant to demand a share in every enterprise--in railways, in mines, in sugar estates, in cotton mills, in land companies, in each and every undertaking--as the price of his protection. The desire to be on the spot early was the real cause of the celebrated ride over the mountains with some two hundred llaneros, an enterprise of which the dangers had not appeared at first clearly to his impatience. Coming from a series of victories, it seemed to him that a Montero had only to appear to be master of the situation. This illusion had betrayed him into a rashness of which he was becoming aware. As he rode at the head of his llaneros he regretted that there were so few of them. The enthusiasm of the populace reassured him. They yelled "Viva Montero! Viva Pedrito!" In order to make them still more enthusiastic, and from the natural pleasure he had in dissembling, he dropped the reins on his horse's neck, and with a tremendous effect of familiarity and confidence slipped his hands under the arms of Senores Fuentes and Gamacho. In that posture, with a ragged town mozo holding his horse by the bridle, he rode triumphantly across the Plaza to the door of the Intendencia. Its old gloomy walls seemed to shake in the acclamations that rent the air and covered the crashing peals of the cathedral bells. Pedro Montero, the brother of the general, dismounted into a shouting and perspiring throng of enthusiasts whom the ragged Nationals were pushing back fiercely. Ascending a few steps he surveyed the large crowd gaping at him and the bullet-speckled walls of the houses opposite lightly veiled by a sunny haze of dust. The word "_Pourvenir_" in immense black capitals, alternating with broken windows, stared at him across the vast space; and he thought with delight of the hour of vengeance, because he was very sure of laying his hands upon Decoud. On his left hand, Gamacho, big and hot, wiping his hairy wet face, uncovered a set of yellow fangs in a grin of stupid hilarity. On his right, Senor Fuentes, small and lean, looked on with compressed lips. The crowd stared literally open-mouthed, lost in eager stillness, as though they had expected the great guerrillero, the famous Pedrito, to begin scattering at once some sort of visible largesse. What he began was a speech. He began it with the shouted word "Citizens!" which reached even those in the middle of the Plaza. Afterwards the greater part of the citizens remained fascinated by the orator's action alone, his tip-toeing, the arms flung above his head with the fists clenched, a hand laid flat upon the heart, the silver gleam of rolling eyes, the sweeping, pointing, embracing gestures, a hand laid familiarly on Gamacho's shoulder; a hand waved formally towards the little black-coated person of Senor Fuentes, advocate and politician and a true friend of the people. The vivas of those nearest to the orator bursting out suddenly propagated themselves irregularly to the confines of the crowd, like flames running over dry grass, and expired in the opening of the streets. In the intervals, over the swarming Plaza brooded a heavy silence, in which the mouth of the orator went on opening and shutting, and detached phrases--"The happiness of the people," "Sons of the country," "The entire world, el mundo entiero"--reached even the packed steps of the cathedral with a feeble clear ring, thin as the buzzing of a mosquito. But the orator struck his breast; he seemed to prance between his two supporters. It was the supreme effort of his peroration. Then the two smaller figures disappeared from the public gaze and the enormous Gamacho, left alone, advanced, raising his hat high above his head. Then he covered himself proudly and yelled out, "Ciudadanos!" A dull roar greeted Senor Gamacho, ex-pedlar of the Campo, Commandante of the National Guards. Upstairs Pedrito Montero walked about rapidly from one wrecked room of the Intendencia to another, snarling incessantly-- "What stupidity! What destruction!" Senor Fuentes, following, would relax his taciturn disposition to murmur-- "It is all the work of Gamacho and his Nationals;" and then, inclining his head on his left shoulder, would press together his lips so firmly that a little hollow would appear at each corner. He had his nomination for Political Chief of the town in his pocket, and was all impatience to enter upon his functions. In the long audience room, with its tall mirrors all starred by stones, the hangings torn down and the canopy over the platform at the upper end pulled to pieces, the vast, deep muttering of the crowd and the howling voice of Gamacho speaking just below reached them through the shutters as they stood idly in dimness and desolation. "The brute!" observed his Excellency Don Pedro Montero through clenched teeth. "We must contrive as quickly as possible to send him and his Nationals out there to fight Hernandez." The new Gefe Politico only jerked his head sideways, and took a puff at his cigarette in sign of his agreement with this method for ridding the town of Gamacho and his inconvenient rabble. Pedrito Montero looked with disgust at the absolutely bare floor, and at the belt of heavy gilt picture-frames running round the room, out of which the remnants of torn and slashed canvases fluttered like dingy rags. "We are not barbarians," he said. This was what said his Excellency, the popular Pedrito, the guerrillero skilled in the art of laying ambushes, charged by his brother at his own demand with the organization of Sulaco on democratic principles. The night before, during the consultation with his partisans, who had come out to meet him in Rincon, he had opened his intentions to Senor Fuentes-- "We shall organize a popular vote, by yes or no, confiding the destinies of our beloved country to the wisdom and valiance of my heroic brother, the invincible general. A plebiscite. Do you understand?" And Senor Fuentes, puffing out his leathery cheeks, had inclined his head slightly to the left, letting a thin, bluish jet of smoke escape through his pursed lips. He had understood. His Excellency was exasperated at the devastation. Not a single chair, table, sofa, etagere or console had been left in the state rooms of the Intendencia. His Excellency, though twitching all over with rage, was restrained from bursting into violence by a sense of his remoteness and isolation. His heroic brother was very far away. Meantime, how was he going to take his siesta? He had expected to find comfort and luxury in the Intendencia after a year of hard camp life, ending with the hardships and privations of the daring dash upon Sulaco--upon the province which was worth more in wealth and influence than all the rest of the Republic's territory. He would get even with Gamacho by-and-by. And Senor Gamacho's oration, delectable to popular ears, went on in the heat and glare of the Plaza like the uncouth howlings of an inferior sort of devil cast into a white-hot furnace. Every moment he had to wipe his streaming face with his bare fore-arm; he had flung off his coat, and had turned up the sleeves of his shirt high above the elbows; but he kept on his head the large cocked hat with white plumes. His ingenuousness cherished this sign of his rank as Commandante of the National Guards. Approving and grave murmurs greeted his periods. His opinion was that war should be declared at once against France, England, Germany, and the United States, who, by introducing railways, mining enterprises, colonization, and under such other shallow pretences, aimed at robbing poor people of their lands, and with the help of these Goths and paralytics, the aristocrats would convert them into toiling and miserable slaves. And the leperos, flinging about the corners of their dirty white mantas, yelled their approbation. General Montero, Gamacho howled with conviction, was the only man equal to the patriotic task. They assented to that, too. The morning was wearing on; there were already signs of disruption, currents and eddies in the crowd. Some were seeking the shade of the walls and under the trees of the Alameda. Horsemen spurred through, shouting; groups of sombreros set level on heads against the vertical sun were drifting away into the streets, where the open doors of pulperias revealed an enticing gloom resounding with the gentle tinkling of guitars. The National Guards were thinking of siesta, and the eloquence of Gamacho, their chief, was exhausted. Later on, when, in the cooler hours of the afternoon, they tried to assemble again for further consideration of public affairs, detachments of Montero's cavalry camped on the Alameda charged them without parley, at speed, with long lances levelled at their flying backs as far as the ends of the streets. The National Guards of Sulaco were surprised by this proceeding. But they were not indignant. No Costaguanero had ever learned to question the eccentricities of a military force. They were part of the natural order of things. This must be, they concluded, some kind of administrative measure, no doubt. But the motive of it escaped their unaided intelligence, and their chief and orator, Gamacho, Commandante of the National Guard, was lying drunk and asleep in the bosom of his family. His bare feet were upturned in the shadows repulsively, in the manner of a corpse. His eloquent mouth had dropped open. His youngest daughter, scratching her head with one hand, with the other waved a green bough over his scorched and peeling face. CHAPTER SIX The declining sun had shifted the shadows from west to east amongst the houses of the town. It had shifted them upon the whole extent of the immense Campo, with the white walls of its haciendas on the knolls dominating the green distances; with its grass-thatched ranches crouching in the folds of ground by the banks of streams; with the dark islands of clustered trees on a clear sea of grass, and the precipitous range of the Cordillera, immense and motionless, emerging from the billows of the lower forests like the barren coast of a land of giants. The sunset rays striking the snow-slope of Higuerota from afar gave it an air of rosy youth, while the serrated mass of distant peaks remained black, as if calcined in the fiery radiance. The undulating surface of the forests seemed powdered with pale gold dust; and away there, beyond Rincon, hidden from the town by two wooded spurs, the rocks of the San Tome gorge, with the flat wall of the mountain itself crowned by gigantic ferns, took on warm tones of brown and yellow, with red rusty streaks, and the dark green clumps of bushes rooted in crevices. From the plain the stamp sheds and the houses of the mine appeared dark and small, high up, like the nests of birds clustered on the ledges of a cliff. The zigzag paths resembled faint tracings scratched on the wall of a cyclopean blockhouse. To the two serenos of the mine on patrol duty, strolling, carbine in hand, and watchful eyes, in the shade of the trees lining the stream near the bridge, Don Pepe, descending the path from the upper plateau, appeared no bigger than a large beetle. With his air of aimless, insect-like going to and fro upon the face of the rock, Don Pepe's figure kept on descending steadily, and, when near the bottom, sank at last behind the roofs of store-houses, forges, and workshops. For a time the pair of serenos strolled back and forth before the bridge, on which they had stopped a horseman holding a large white envelope in his hand. Then Don Pepe, emerging in the village street from amongst the houses, not a stone's throw from the frontier bridge, approached, striding in wide dark trousers tucked into boots, a white linen jacket, sabre at his side, and revolver at his belt. In this disturbed time nothing could find the Senor Gobernador with his boots off, as the saying is. At a slight nod from one of the serenos, the man, a messenger from the town, dismounted, and crossed the bridge, leading his horse by the bridle. Don Pepe received the letter from his other hand, slapped his left side and his hips in succession, feeling for his spectacle case. After settling the heavy silvermounted affair astride his nose, and adjusting it carefully behind his ears, he opened the envelope, holding it up at about a foot in front of his eyes. The paper he pulled out contained some three lines of writing. He looked at them for a long time. His grey moustache moved slightly up and down, and the wrinkles, radiating at the corners of his eyes, ran together. He nodded serenely. "Bueno," he said. "There is no answer." Then, in his quiet, kindly way, he engaged in a cautious conversation with the man, who was willing to talk cheerily, as if something lucky had happened to him recently. He had seen from a distance Sotillo's infantry camped along the shore of the harbour on each side of the Custom House. They had done no damage to the buildings. The foreigners of the railway remained shut up within the yards. They were no longer anxious to shoot poor people. He cursed the foreigners; then he reported Montero's entry and the rumours of the town. The poor were going to be made rich now. That was very good. More he did not know, and, breaking into propitiatory smiles, he intimated that he was hungry and thirsty. The old major directed him to go to the alcalde of the first village. The man rode off, and Don Pepe, striding slowly in the direction of a little wooden belfry, looked over a hedge into a little garden, and saw Father Roman sitting in a white hammock slung between two orange trees in front of the presbytery. An enormous tamarind shaded with its dark foliage the whole white framehouse. A young Indian girl with long hair, big eyes, and small hands and feet, carried out a wooden chair, while a thin old woman, crabbed and vigilant, watched her all the time from the verandah. Don Pepe sat down in the chair and lighted a cigar; the priest drew in an immense quantity of snuff out of the hollow of his palm. On his reddish-brown face, worn, hollowed as if crumbled, the eyes, fresh and candid, sparkled like two black diamonds. Don Pepe, in a mild and humorous voice, informed Father Roman that Pedrito Montero, by the hand of Senor Fuentes, had asked him on what terms he would surrender the mine in proper working order to a legally constituted commission of patriotic citizens, escorted by a small military force. The priest cast his eyes up to heaven. However, Don Pepe continued, the mozo who brought the letter said that Don Carlos Gould was alive, and so

cravest

How many times the word 'cravest' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

eyes

How many times the word 'eyes' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

weighs

How many times the word 'weighs' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

shoulder

How many times the word 'shoulder' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

crunching

How many times the word 'crunching' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

take

How many times the word 'take' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

idle

How many times the word 'idle' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

looming

How many times the word 'looming' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

roughly

How many times the word 'roughly' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

life

How many times the word 'life' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

last

How many times the word 'last' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

sense

How many times the word 'sense' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

body

How many times the word 'body' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

confirmed

How many times the word 'confirmed' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

statue

How many times the word 'statue' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

surprise

How many times the word 'surprise' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

villages

How many times the word 'villages' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

heard

How many times the word 'heard' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

causing

How many times the word 'causing' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

broken

How many times the word 'broken' appears in the text?

ANN PEERING around from behind the TREE ... ... there is another CARNIVORE BEHIND HER! It snares at her ... and pounces! ANN leaps away ... she barely has time to start running before the CARNIVORE GIVES CHASE! ANGLE ON: ANN races past the first CARNIVORE ... the creature turns it's head ... and soon BOTH DINOSAURS are pursuing ANN. EXT. HOLLOW TREE GLADE - DAY NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS snap above her head. NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN TREE. ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN. 87. ANN is lying beneath the ROOTS ... all she can see are LEGS and SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW GAP. SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the GROUND - it's taloned feet thrashing in mid-air. he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is forced to watch the twitching legs SHUDDER and FLAIL. The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM and go limp. ANN is completely still, she dare not breathe ... whatever killed the CARNIVORE is now inches from her hiding PLACE. CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her. CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her. ANN doesn't move as it inches towards her face. Suddenly she feels another crawling up over her shoulder. ANN FREAKS! She desperately scrambles away from the CENTIPEDES ... rolls out on the OTHER SIDE of the TREE and stands to RUN... ... TOWERING above her, with the DEAD CARNIVORE hanging limply from it's HUGE JAWS, is a TYRANNOSAURUS REX! ANN starts RUNNING! The TYRANNOSAUR crashes after her with the DEAD CARNIVORE still in it's MOUTH... as SHE races through the JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can feel its hot sour BREATH blowing on the back of her neck! The HUGE JAWS of the HUGE BEAST open INCHES from ANN'S HEAD! E EXT. VALLEY EDGE - DAY NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and CRASHES NOISILY through a THICKET of PALMS ... EXT. FALLEN TREE GLADE - DAY ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING on her ... she manages to scramble onto a FALLEN TREE that juts out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls towards the END ... the TYRANNOSAUR cannot possibly follow her. She falls amongst the roots, lying as flat as possible, praying the TYRANNOSAUR doesn't see her. It seems to work and IT walks off. ANN HESITANTLY SITS up, thinking that she is at last free, only to turn and discover another is behind her! With an almost delicate movement, the TYRANNOSAUR nudges the LOG with it's head ... causing it to lurch dramatically! The TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ... 88. she just manages to grab hold of a BRANCH as she FALLS. ANN hangs on desperately ... SHE SCREAMS! ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ... AT THAT MOMENT: KONG CHARGES! KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the ground beside her ... in a flash, KONG CATCHES HER mid-fall ... ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another swipe. EXT. SKULL ISLAND JUNGLES - DAY AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards HER! They cling onto KONG'S ARM, clawing furiously, snapping at ANN! LOSE ON: Saliva flies from wild, snapping jaws. WIDE ON: KONG rolls over, THUMPING his arm against a TREE, crushing a DINOSAUR. ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the second BEAST with one hand, snapping it's NECK with a BONE CRUNCHING sound. UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR scrambles back to it's feet! KONG holds ANN protectively as he braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from behind. T hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH. KONG fights like a madman on three separate fronts ... Not only does he have to do battle with the TYRANNOSAURS, he is also PROTECTING ANN - constantly transferring her from ONE HAND to THE OTHER as the TYRANNOSAURS SNAP AT HER HEELS. KONG punches and smashes with his fists, but he also uses wrestling-style headlocks and flips ... for a brief moment, ANN rolls free on the ground and has to dodge 25-foot DINOSAURS and the GORILLA, as the frenzied fight THUNDERS all around her. The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD. KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP. KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over his shoulder, and throwing it down into the CHASM. CLINGING ONTO THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT AS IT FALLS it SNAPS AT KONG'S FOOT. E 89. KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ... DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF HIS JAW. WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN. THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ... ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP. RUNS. IT CHASES. EXT. CLEARING - DAY WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS BENEATH THE LOOMING FIGURE OF KONG. T HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each other. KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over, using all his strength to force the TYRANNOSAUR'S JAWS OPEN before RIPPING them clean APART at the HINGE! The TYRANNOSAUR sprawls back, DEAD. KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST, TRIUMPHANTLY with a DEAFENING ROAR. WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY - his blood is up, he is ready to take on the world. HE STANDS NEXT TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE. ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM. ANN Wait! ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off into the DEEP JUNGLE INTERIOR. ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to his SHOULDER. CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the JUNGLE. KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on his SHOULDER ... 90. ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the tension seems to go out of her body, she relaxes into his HAND ... for the first time since coming to SKULL ISLAND she feels SAFE. EXT. BOTTOM OF CHASM - DAY CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF. DENHAM is lying nearby. JACK Carl!!! DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE. JACK SEES JIMMY. CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down. JACK (cont'd) Jimmy? CLOSE ON: JIMMY looks up at JACK, there are tears filling his eyes. He falls into JACK'S arms softly sobbing. ANGLE ON: DENHAM sitting up... dawning realization in his eyes. LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY .. ONLY TO SEE THAT HE has DIED. NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the floor of the RAVINE. ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA lies smashed and broken on the CHASM floor ... a thin, shiny, thread of black FILM trailing from the smashed CAMERA body like spilt innards. DENHAM reaches out and touches the EXPOSED FILM ... his dreams DESTROYED. WIDE ON: THE FLARE SLOWLY DIES. CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES the INSECTS CRAWL BACK. ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out! It crawls blindly towards LUMPY and CHOY! ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are ATTACKED by LARGE INSECTS, the size of dogs! JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK. 91. LUMPY and CHOY are CONSUMED by the nightmarish BUGS. ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he smashes the HUGE BUGS in a psychotic explosion of RAGE, pulverizing their bodies into the DIRT! All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and crawl towards the JACK, DENHAM and JIMMY ... these are HUGE INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and CENTIPEDES! SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK. GRABBING IT he aims at the INSECTS on JACK. BAM! BAM! BAM! The GIANT INSECTS are blown apart! JACK looks wildly around for DENHAM. THEY SEE that they're SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the INSECTS with a STICK, whacking and stabbing them. BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in the CLIFF AND DIE. JACK spins around ... confused. ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP of the CHASM, SHOOTING the SPIDERS into SMITHEREENS! ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN BLAZING! BRUCE proceeds to lay waste to the INSECTS ... those not blasted apart, scurrying away, back in to the darkness. EXT. JUNGLE - DAY Moving purposefully along a well-known route to his LAIR, KONG launches himself across a LOW CHASM ... one hand reaching out to clutch at THICK VINES on the other side ... SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM WALL ... KONG falls backwards. ANN still clutched protectively to his CHEST he lands with a THUD! ANN looks up alarmed! KONG scrambles to his feet, GROWLING ... he places ANN on the GROUND pushing her protectively behind him. KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE! CLOSE ON: ANN as her expression suddenly changes from FEAR to DAWNING COMPREHENSION. ANN walks past KONG ... who emits another LOW, WARNING GROWL. ANN It's alright ... it's okay ... ANN reaches the WALL and begins to pull away more of the VINES and CREEPERS to reveal ... 92. A life-size and very life-like eroded STATUE of a SITTING GIANT GORILLA ... the IMAGE of KONG ... ANN turns back excitedly to KONG, trying to make him understand. ANN (cont'd) Look - it's you ... "Kong". See ... you. "Kong". This is you. KONG looks from ANN to the HUGE STATUE ... KONG POV: ANN is dwarfed by the STONE MONOLITH. PUSH IN on KONG ... a growing sense of REALISATION as he comes to understand the STATUE is in fact a reflection of himself. CLOSE ON: KONG looking down at his hands ... it's as if he is seeing his GNARLED, LEATHERY FINGERS for the first time. ANN moves towards KONG ... he looks at her ... there is a VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his EYES. EXT. SKULL MOUNTAIN - DUSK In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his hand. A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN ... they have eight-foot wing spans and TALONED FEET. Their faces are more reptile than bat. 93. EXT. KONG'S LAIR - DUSK WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that juts out high over SKULL ISLAND ... This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at least 1000-feet down to the JUNGLE. The "VENTURE" can be seen - moored off the TIP of the ISLAND, some three miles away. NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as he moves away and sits to one side of the LEDGE. The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING the FIGURE of KONG ... CLOSE ON: ANN looks around the CAVE taking in her STRANGE SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and SKELETON which lie within the recesses of the CAVE ... ANN turns and looks back at KONG ... realizing these are the BONES of his FOREBEARS ... that KONG was not always alone. SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER SOUND, sends ANN scurrying towards KONG ... ONG won't look at her. ANN breaks into a few tap steps ... NO RESPONSE. She leans down and picks up some STONES ... JUGGLING them, attempting to amuse him as she did before. KONG's gaze remains averted ... He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over the OCEAN. ANN (softly) It's beautiful. KONG sits QUIETLY staring out over the JUNGLE ... she looks up at him. ANN (cont'd) Beautiful. ANN places her HAND against her heart. ANN (cont'd) Beau-ti-ful. KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment, then CLIMBS into it. ANGLE ON: KONG gently lifts ANN ... 94. WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the DUSK LIGHT FADES. EXT. LOG CHASM - DAY LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON up the last stretch of the ROPE ... ENGLEHORN turns and sees JACK climbing towards the TOP of the D CHASM ... TWO SAILORS reaching down to help him. DENHAM Thank God. ENGLEHORN Don't thank God, thank Mr. Baxter ... CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from exertion. ENGLEHORN (cont'd) He insisted on a rescue mission. Me? I knew you'd be okay ... CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of the CHASM. ENGLEHORN is watching him IMPASSIVELY. ENGLEHORN (cont'd) That's the thing about cockroaches; no matter how many times you flush them down the toilet they always crawl back up the bowl! ANGLE ON: DENHAM as he rises to his feet. DENHAM ey buddy! I'm outta the bowl! I'm drying off my wings and trekking across the lid! ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM in SURPRISE. DENHAM FOLLOWS HIS GAZE. WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a solitary figure, bloodied and torn. ENGLEHORN Driscoll ... don't be a fool! Give it up, it's useless ... She's dead. DENHAM (quietly) She's not dead. Jack's gonna bring her back. ENGLEHORN turns to DENHAM. 95. DENHAM (cont'd) And the ape will be hard on his heels. We can still come out of this thing okay - (pause) More than okay. Think about it, you've got a boat full of chloroform we can put to good use. ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS. ENGLEHORN You want to trap the Ape? I don't think so. DENHAM Isn't that what you do? Live animal capture? I heard you were the best. ENGLEHORN stares at DENHAM for a moment, it is impossible to know what he is thinking. DENHAM (cont'd) Jack! JACK looks at DENHAM D ... DENHAM raises a hand in salute. DENHAM (cont'd) (calling) Look after yourself! JACK Keep the Gate open. DENHAM Sure thing, buddy! Good luck! ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL. DENHAM (cont'd) I'm sorry. EXT. THICK JUNGLE - DUSK ANGLE ON: JACK struggles through the JUNGLE ... he breaks into CLEARING and STOPS SHORT as he see's the VAST VISTA of the MOUNTAIN in front of him. INT. KONG'S LAIR - NIGHT ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his LEDGE, HE CRADLES ANN IN HIS ARM. CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND. ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his FINGER touches ANN'S HAIR. 96. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR! BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER. CLOSE ON: JACK freezes. NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the STALACTITES that hang from the ROOF of the CAVERN. He scans the LAIR for any sign of ANN ... but can't see her. The OLD BONES of a LARGE GORILLA lie across the CAVE from JACK. ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE WITH KONG. ANGLE ON: JACK moves forward, towards KONG. He stays in the SHADOWS of the ROCKS. JACK CRAWLS FORWARD onto the LEDGE. EXT. KONG'S LAIR - NIGHT ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his SHOULDERS gently heaving with each breath. LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT. ... ANN is ASLEEP in KONG'S HAND! LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling in his sleep! JACK is less than 8 FEET away from ANN. CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK ... then REALISATION arrives quickly - he has come for her! She looks at JACK with disbelief. LOSE ON: JACK looks at ANN, drawing a finger to his lips ... neither DARES to move, or make a sound. ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her to stay motionless in KONG'S PALM. NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of the CAVE and SWARM around the LEDGE ... their FEAR of KONG is overwhelmed by the tempting SIGHT of JACK and ANN. KONG STIRS. CLOSE ON: JACK extends his HAND towards ANN ... she reaches out ... their FINGERS TOUCH ... ... and KONG'S EYES SNAP OPEN! 97. TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his FEET, pulling ANN away from JACK! NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before him. The BAT-THINGS SWARM above KONG. ANN (yelling) Jack, run! ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and KICKS in his GRASP. A ANN (cont'd) (yelling) No! KONG places ANN high on a SMALL LEDGE and CHARGES at JACK! NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN around him! ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT pummels into the GROUND. CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him ... there is NO ESCAPE! CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his FOOT, ready to SQUASH JACK like a bug! AT THAT MOMENT! ANN SHRIEKS in PAIN! KONG spins around ... ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are FRENZYING around ANN, sharp CLAWS lashing her! She cowers against the ROCK FACE, trying to protect herself. CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and CHARGES at the BAT-THINGS! The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN from the LEDGE. They strike at KONG and ANN like a swarm of giant bees. KONG ROARS and THRASHES OUT at them in a FRENZY! NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw at his HEAD and BODY. A NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the CLIFF towards ANN ... under the cover of an OVERHANG. 98. JACK and ANN are inches away from each other right behind KONG'S FEET! ACK grabs ANN'S HAND and leads her towards the only possible escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE! JACK grabs a LARGE VINE, testing it's strength. He turns to Ann. JACK (urgent) This way! Come on! JACK pulls ANN to him and clambers over the EDGE of the DIZZYING DROP. EXT. LEDGE - NIGHT WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that hang over the LEDGE ... hand over hand ... the SOUND of KONG ROARING above, as he battles the BAT-THINGS. EXT. KONG'S LAIR - NIGHT ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK in an effort to weaken the huge ape ... he suddenly POUNDS HIS BACK against the WALL of the CAVE, SQUASHING THEM ALL! The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ... 16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards the BACK OF THE CAVE, preparing their NEXT ATTACK. KONG LOOKS for ANN ... she has GONE! EXT. LEDGE - NIGHT ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is trying to SWING towards the ROCK FACE ... SUDDENLY! They start RISING! WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN towards HIM, like a fisherman reeling in a catch. ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter around THEM. A NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT- THINGS dive towards JACK and ANN! A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS it's TALONED ANKLE. ACK (yelling) Hang on to me! 99. ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS OTHER ANKLE. ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING plunge past the CLIFF FACE. SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE. EXT. RIVER - NIGHT The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He RELEASES HIS GRIP! ANN SCREAMS as she and JACK fall into the RIVER ... they are immediately picked up by the current and SWEPT AWAY. JACK and ANN are carried into the RAPIDS, swept down a small WATERFALL, surfacing into a FAST-FLOWING, but less violent part of the river. INT. KONG'S LAIR - NIGHT KONG ROARS with ANGER and GRIEF. EXT. VILLAGE WALL WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes out over the ISLAND. CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER. EXT. RIVER BANK - PRE-DAWN ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER, hauling themselves up on the MUDDY BANK. KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT. AN ENRAGED KONG is visible ... quickly descending from his mountain lair! EXT. DENSE JUNGLE - PRE-DAWN ANGLE ON: JACK and ANN racing through the JUNGLE. EXT. WALL GROTTO - DAWN NGLE ON: LOW ANGLE of the WALL and ALTAR. A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES. 100. SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING towards the CHASM and WALL ... the ALTAR BRIDGE has been raised, and hangs just out of reach. ACK (yelling) Carl! OW ANGLE: The TOP of the WALL is deserted ... ANN Please! Somebody help us! SOUNDTRACK: A ROAR ... growing louder ... ANN casts a nervous glance over her shoulder. TREES CRASH to the GROUND as KONG SMASHES his way through the JUNGLE towards the CLEARING ... ANN looks at the deserted wall. ANN (cont'd) (ashen) They've gone. JACK (yelling) Carl? Oh Christ! Carl? EXT. NATIVE VILLAGE/WALL - DAWN CLOSE ON: DENHAM silently listens to his FRIENDS calling. IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby. PRESTON Drop the bridge! Do it now, for chrissakes! DENHAM (quiet) Not yet ... wait. The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND. DENHAM (cont'd) Wait ... PRESTON (incensed) No Carl ... PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He slices through the ROPE ... 101. EXT. WALL GROTTO - DAWN NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE! J KONG sees ANN and charges forward! ACK and ANN race across the BRIDGE, getting to the other side just as KONG LEAPS the CHASM. JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES through the BAMBOO defences. EXT. NATIVE VILLAGE/WALL - DAWN ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted. DENHAM suddenly rises and walks past them towards the GATE, fixated on the ROARING BEAST, smashing at the TIMBERS. CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks, with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF CHLOROFORM BOTTLES. ENGLEHORN (shouting) Now!!! ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He reaches towards her ... DENHAM to ENGLEHORN) Bring him down! Do it! ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the ROPES. A ANN No! JACK Are you out of your mind? Carl! BRUCE rushes forward, pulling PRESTON to his feet, hustling him towards the TUNNEL EXIT. ENGLEHORN yells at SAILORS poised on the TOP of the WALL. DENHAM Drop the net! ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET ... KONG is PUSHED to the GROUND by the WEIGHT. CLOSE ON: DENHAM turns to ENGLEHORN. DENHAM (cont'd) Gas him! 102. ANN (sobbing) No! Please - don't do this! CLOSE ON: JACK holding ANN back. JACK Ann ... He'll kill you! ANN No, he won't. ANGLE ON: KONG trying to get up ... ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the ground right under his face. ANN (cont'd) No! KONG breathes in the cloud of CHLOROFORM, he tries to push himself up. ENGLEHORN Keep him down! SAILORS throw BOULDERS down from the TOP of the WALL, pummelling KONG'S HEAD. ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm just as he prepares to throw another CHLOROFORM BOTTLE. ANN Stop it! You're killing him! ENGLEHORN Get her out of here! Get her out of his sight! JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE intensifies. DENHAM Do it! CLOSE ON: ANN STARES up at JACK. ANN Let go of me ... CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes flicker towards KONG. He makes his decision. A NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL ENTRANCE. She struggles to break free. CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES with ANGER, suddenly RISING to his FEET, ripping the NET to PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying through the AIR! 103. CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG falls apart. SAILOR We can't contain him! ENGLEHORN Kill it! DENHAM No! ENGLEHORN It's over, you Goddamn lunatic! DENHAM I need him alive! ENGLEHORN Shoot it!!! ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE BUILDINGS. CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ... his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away by the collar, shoving him down the path. ENGLEHORN (cont'd) Jimmy - get out of here! Get to the boat! (yelling) All of you! Run! ONG climbs DOWN THE WALL. EXT. BEACH - DAWN ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN fights as JACK tries to LIFT her on BOARD ... both turn!

blowing

How many times the word 'blowing' appears in the text?