Note: The following Revised Final Script includes all revisions in the order they were attached. Just like the original script, (X) marks the spot for any revisions made on March 13, 1986. (X) marks the spot of any first round revisions made on March 17, 1986. And (X) marks the spot for any second round revisions on March 17, 1986. All abbreviations will be (defined) immediately following the first appearance. And please remember that plagiarism or printing out copies to sell is not cool.
Script Trivia: The spelling of Simon's last name is not a typo on the transcribers part. Mackay is one of the working names used for Simon until the final decision to stick with the last name of McKay.
ACT ONE
FADE IN
CREDIT MONTAGE:
EXT. SIMON MACKAY'S HOUSE - NIGHT - 1
In the rain, a street sign: ELM STREET. PAN TO a large, classic Victorian house . . . no lights on inside. (X)
OUT - 2
INT. SIMON MACKAY'S HOUSE - LIVING ROOM - VARIOUS SHOTS - NIGHT - 3
In the darkened house, carved faces of old marionettes, antique, cast iron toys, snarling faces of carousel animals. Suddenly, SIMON MACKAY'S face BOLTS INTO FRAME! He's out of breath. His intelligent eyes dart about the room, desperately searching for some place to hide! He rushes o.s. (off screen)!
A moment later a man's hips MOVE INTO FRAME & we REALIZE that Simon barely comes up to his waist. PAN UP TO GRAM'S threatening face as he scans the room for Simon!
ANGLE - THE LIVING ROOM - 4
In the dark, with rain streaking the windows, it's hard to tell if Gram has a gun as he moves amidst the antique toys & furnishings hunting for Simon! As he passes the fireplace, CAMERA MOVES IN TO Simon, huddled behind screen, hiding from his pursuer. (X)
EXT. STREET - NIGHT - 4-A
Unmarked government car drives by, windshield wipers doing their job. (X)
INT. UNMARKED GOVERNMENT CAR - NIGHT - 5
ALEX JAGGER, a roguish, muscular government agent in his thirties, polished but rough around the edges, leans seductively close to the car's driver.
ALEX (Viennese accent)
I'm going to drip champagne all over your body . . . sip it from the hollow of your neck . . . let you taste it in my mouth.
NEW ANGLE - 6
We SEE the driver for the first time. He's EDWARD T. LINDER, a silver-haired man in his sixties, gentle looking but hard as steel. He smokes a pipe, glancing askance at Alex, who leans seductively closer.
ALEX
If I can't have you, have you tonight, I'll kill myself . . . or kill you.
He stares deeply into Ed's eyes. Ed bites the stem of his pipe.
ALEX (voice changing to relaxed -- though at the moment intense -- Detroit cadence)
The she takes my hand & brings me to her dressing room in the Vienna Opera House. She undoes my tie with her teeth, chills the champagne, but before she can pop the cork, you yank me out a' there . . . out a' Vienna . . . bring me Stateside . . . for what?! To baby-sit a tiny toymaker!
Alex practically strangles the dossier he's holding.
ED
Jagger, finish his dossier. Simon Mackay patented his first invention at seven years old. The Soviets still haven't equaled the hardware he designed for the Pentagon.
ALEX
Mackay hasn't worked for the Pentagon since '78! What are we still providing him security for?
ED
He carries out assignments for us from time to time & we don't want him jeopardized.
ALEX
Assignments? The guy makes toys!
(looks at dossier)
There're no entries here between '78 & '84. What went down between warland & toyland?
ED
He vanished. Disappeared.
ALEX
Maybe he was at the North Pole learning his new trade! Why am I being punished, Linder? Huh? Did I put in for too high an expense account?
ED
It's not what you did. It's what Henderson did protecting Mackay. Got himself poisoned.
Alex is sorry for Henderson, double so because he was poisoned.
ALEX
You can never trust food -- I never trust food unless my mother makes it. And even then I feed some to the dog first.
ED
That's why you're the perfect replacement. Also because Darcy Stafford was Henderson's partner. Now she'll be yours.
ALEX
I'm right. This is punishment!
ED
You recruited her.
ALEX
Recruited her?! Darcy Stafford was a spoiled jet setter I used once to get into an Embassy Ball! Recruited her! Lady was after every thrill she could get! I still can't believe she joined the Agency.
(looks at Simon's dossier)
This doesn't make sense. If this guy's so important he can't vanish for six years. (X)
ED
When the best intelligence agencies in the world can't find someone, he's vanished. But Simon Mackay turned up. He won't say where he was & at the moment that doesn't matter. I don't care if he is on of Santa's elves. He's also the inventive genius of our time, so you make damn sure he doesn't fall into the wrong hands!
EXT. SIMON'S HOUSE - NIGHT - 6-A
Ed pulls up in front of Simon's house.
OUT - 7
INT. SIMON'S HOUSE - LIBRARY - EVENING - 8
Simon MacKay's library resembles a used book store, rows of shelves stacked with books. Library ladders add to the feeling of a maze in the darkness. Simon slips into the room & ducks behind the open door, his heart pounding in his throat! He peeks through the crack between the door & the wall. Gram is in the foyer hunting for him! Simon presses against the wall, then pads toward the bookshelves. But in the dark he knocks over a lamp that crashes to the floor! Gram moves toward the open library door!
EXT. FRONT PORCH - NIGHT - 9
Alex has set his expensive suitcase down & is about to ring the doorbell when he hears the crash in the darkened house.
SHIFT FOCUS TO a hidden security camera focused on the front door.
INT. BASEMENT ROOM - NIGHT - 10
Someone in silhouette watches Alex on a monitor as he picks the front door lock, draws his revolver & slips inside the house.
OUT - 11
INTERCUT:
INT./EXT. LIBRARY - NIGHT - 12
Alex slips into the room, gun at the ready, stalking the stalker!
Simon hides in a lower bookshelf among the books!
Gram comes down the aisle toward him!
Alex climbs one of the library ladders!
Simon holds his breath as Gram moves closer!
Alex balances on top of a bookshelf, then times a perfect dive right onto the intruder! But instead of tackling the large man, Alex dives right through him, landing painfully face-first on the floor!
Alex whirls, nose bleeding to see Gram continuing forward as if nothing happened.
ALEX
What the . . .
A woman's laughter breaks the tension. The lights go on. DARCY STAFFORD STEPS OUT of the shadows, her laughter as uninhibited as her spirit. She's dressed comfortably but stylishly. There is a Grace Kelly elegance about her.
(X)
Alex doesn't appreciate the joke. As he's about to say something, Gram disappears like a light being dimmed off. Simon scurries out from the bottom shelf. His eyes sparkle. He's so full of life & energy it seems like he's going to burst. He rushes to Alex.
SIMON
Oh goodness, goodness, are you all right?
ALEX
If you don't count hallucinating.
SIMON
I have a handkerchief here some place.
Simon searches through his pockets, pulling out scraps of paper & pieces of electronics.
DARCY
Simon Mackay, meet Alex Jagger. You'll have to excuse his reckless abandon, he has a habit of diving into assignments.
SIMON
Pleased to meet to, Alex.
As Simon shakes Alex's hand, a rubber ball he's pulled from his pocket falls to the floor, bounces to the ceiling like a rocket, & keeps bouncing off the walls, ceiling & floor. Darcy & Simon ignore it. Alex, to say the least, is distracted.
ALEX
One of you want to tell me who that was -- what that was walking around in here?
DARCY (straight face)
Can't you tell when you're in a haunted house?
Alex shoots Darcy a look. Simon pulls a piece of candy from his pocket & is delighted by his discovery.
DARCY
Simon.
SIMON
It's just one little piece of candy.
DARCY
You said you wanted to cut down on sweets, that only a fool can't control bad habits.
SIMON
Oh, everyone's a fool at least five minutes a day. Wisdom comes from not exceeding the limit.
He throws the candy to catch in his mouth, but Darcy-intercepts it.
DARCY
Now think how wise you'll be.
Simon glowers at Darcy as he find the handkerchief & hands it to Alex, who has to dodge the bouncing ball. Simon snatches the ball out of the air & stuffs it back into his pocket.
SIMON
What do you miss most abut childhood, Alex?
(X)
ALEX
Nothing. I hated being little -- nothing personal.
SIMON
But you must have loved to play games. Every child likes hide-and-seek.
ALEX
Where I grew up you played it to get home alive.
SIMON
Know what that's like.
(points to himself)
The Liverpool docks.
Simon walks to a sophisticated-looking unit on the floor nearby. It's three inches high, with wheels & two lenses that extend from either side. Alex sees it for the first time. Throughout:
SIMON
When my folks found out out I'd never grow 'up,' they decided I'd better grow fast. Put me out to sea as a cabin boy so I'd learn all about life. But I missed my childhood, & it's childhood . . . during childhood when we learn about life, the important things, the wonders of life. It should never be missed. Or hated.
Simon touches a switch on a remote unit & six feet away a gladiator appears in full regalia. He's motionless, but totally lifelike.
(Note from The MGT.: One page missing from script - middle of Scene 12 - rejoining in progress)
ALEX (X)
Live in? What am I doing here? What are you doing here -- the lady who got bored with skydiving because her chute opened every time.
DARCY (X)
It's a great assignment, Alex.
ALEX (X)
Wha' da ya' do for thrills, play hide & seek? Or maybe tag with a gladiator -- speaking of fantasies.
DARCY (X)
Don't worry, being around Simon is never boring. Your blood'll pump, believe me.
OUT - 13-14
EXT. ACROSS & DOWN THE STREET FROM SIMON'S HOUSE - NIGHT - 15
ESTABLISH Kneff & Dixon's car (K&D car).
INT. K&D CAR - NIGHT - 16
In the backseat, MING-HUAY CHEN, a well-dressed Oriental who is not demonstrating patience. In the front seat, OLIVER KNEFF, a seasoned British Secret Service Office who has "turned," & DIXON, his driver. They watch the front of Simon's house as Simon invites a woman & young boy inside, then closes the door.
CHEN
If we do not carry this out quickly, getting him to Hong Kong may become a serious problem.
KNEFF
Hong Kong will definitely decay without us British. You see, we have patience.
CHEN
That is a luxury you may indulge on your own time, Mr. Kneff.
KNEFF
Do you actually believe, Mr. Chen, that you can sell Simon Mackay to the highest bidder?
CHEN
He is in demand. I supply that which is in demand. You procure him for me, Mr. Kneff, & I will 'persuade' him to use his technology on more important things than toys. (X)
DIXON
As long as you pay the price we don't care what you do with him. (X)
OUT - 17
INT. SIMON'S BASEMENT WORKSHOP - NIGHT - 18
A fascinating, wondrous array of advanced technology combined with inspired imagination: Handmade, one-of-a-kind toys (some next generation of familiar toys, others unlike anything we've ever imagined), next to robotic arms delicately assembling the secret components that make the inner workings of toys.
The VISUAL EXPLORATION ENDS ON BRYAN WAYNE'S face, eyes & mouth open wide at the sight before him. Then ten-year-old wears a Raiders' cap to cover the effects of radiation therapy. Bryan's health is failing, but his spirit is indomitable.
BRYAN
This is what I hope heaven's like.
ANGLE ON SIMON - 19
He stands next to Bryan holding his hand at the front of the stairs leading to the basement workshop. Behind them, RACHEL WAYNE, Bryan's fifty-five-year-old mother, & Alex & Darcy. Alex can't believe that all Simon invents are toys.
SIMON
Bryan, of all the wishes you could wish, you wished to be here with me. That makes me feel very special. Very, very special.
RACHEL
You're very special to Bryan.
The moment is interrupted by a muffled voice.
JACK (o.s.; muffled)
Simon! Simon! Help me! Simon!
Simon rushes around the corner of the L-shaped workshop. Alex puts his hand on the revolver beneath his coat. Darcy steps in front of Bryan & Rachel.
AROUND THE CORNER OF THE ROOM - 20
JACK BROOKS' arms & leg can be SEEN flailing behind a huge foam glob wedged between a workbench & the wall. Somewhat resembling the shape of a woman with a massive rear end, the foam glob keeps expanding, pushing the heavy workbench out while pinning Jack against the wall. Simon grabs one leg of the workbench & pulls on it. Alex & Darcy come to help, but it barely budges, except for the movement caused by the expanding foam. (X)
ALEX
What is that stuff?!
SIMON
I suspect a fantasy gone berserk!
All grunt as they pull the workbench enough to allow Jack to squeeze out from behind it. Jack is seventeen, cute in a sexy precocious way, & not the least bit embarrassed by the situation. In fact, he's excited, full of energy. He shows Simon a two-inch-tall version of the foam woman.
JACK
Simon, it's awesome! I can't believe it, it's unreal!
(seeing everyone)
Hi, how you doin'?
(back to Simon)
I made a polymer with urethanes & Di-Isocyrates & -- anyway, I spilled water on it & it triggered a chemical expansion, it just kept puffing up & puffing up -- so I cut out a couple of, you know, ladies -- but it can be anything -- Simon we can market it! Puffoam, how's that for a name? Puffoam. Huh? Wha' da 'ya think?
Simon looks at Jack & his handiwork, removes the small, foam figure from Jack's hand, takes a deep breath & turns.
SIMON
Everyone, this is my occasional assistant, Jack Brooks. Unfortunately, he'd rather be a sorcerer's apprentice. (X)
JACK
I'm a creative visionary. I'm telling you, Simon, this can be bigger than playdough, Silly Putty, or even Slime! (X)
Darcy takes Jack by the arm & leads him away. She looks at the giant, foam figure.
DARCY
Jack, let's talk about your perception of women.
Alex stares at the large figure, then looks at the small one in Simon's hand.
ALEX
You mean to tell me that started out that tiny -- nothing personal.
SIMON
Small things often produce large results.
(comes to Bryan)
If Jack doesn't get squashed by his experiments he's going to be a brilliant scientist someday. But even he hasn't been able to help me perfect my newest toy. What do you think, Bryan? Would you try to help me?
BRYAN
I'll try.
SIMON
Super!
Simon takes Bryan's hand & leads him to a door. He presses security numbers on a keypad that unlocks it. As he leads Bryan inside, Alex & Rachel start to follow.
SIMON
Sorry, everyone but Bryan has to wait out here.
Bryan feels very special as the door locks behind them. Alex is dying to know what's in the room. He goes to Darcy & Jack.
ALEX
He just said that to make Bryan feel special, right?
DARCY
Wrong. That's Simon's private workshop. No one's allowed in. (X)
INT. PRIVATE WORKSHOP - NIGHT - 21
Simon excitedly unlocks a large, metal cabinet.
BRYAN
That where you keep the new toy? Locked in there?
SIMON
This isn't for my inventions. It's for my inspirations.
Simon pulls the cabinet doors open REVEALING a stash of cookies & candies. He has a hard time selecting, finally taking several, then feeling guilty & putting all but one candy bar back. He locks the cabinet & comes over to Bryan.
SIMON
We'll share one, okay?
BRYAN (grinning)
Okay!
SIMON
But don't tell Darcy.
Simon breaks the candy bar in half, gives half to Bryan & savors the other half himself. Simon indicates a chair for Bryan to sit on. On a table ten feet away is a toy helicopter about two feet long. Simon picks up a toy helicopter pilot's helmet & brings it to Bryan. Throughout:
SIMON
Some people have a sweet tooth, I have a mouth full of them. Probably because I wasn't allowed to eat sweets when I was little.
BRYAN
Simon?
SIMON
Hmm?
BRYAN
What's it like being little? I mean, being grown up but not . . . I mean, you know.
SIMON
The truth is I forget I'm short until something happens to remind me.
BRYAN
I'm sorry. I didn't mean to --
SIMON
Oh, don't worry, don't worry. You don't measure people by height. You measure them by heart, the size of their heart. That's what really matters.
(touches Bryan's shoulder)
Remember, Bryan, everybody has one thing in common. We're all different.
(hands Bryan helmet)
Here, put this on & fasten the chinstrap, tight.
Bryan takes off his Raider's cap & puts on the helmet.
BRYAN (tightening chinstrap)
It's gonna be impossible for me to ever get big either. I'm not gonna live long enough to.
SIMON
Nothing's impossible. Anything you can imagine happening can happen. You see that helicopter over there on the table. I want you to make that helicopter fly around the room.
BRYAN
Okay. (X)
(beat)
How?
SIMON
By imagining that you're the pilot.
BRYAN
I can't make it fly by imagining it.
SIMON
How do you know until you've tried?
(touching helmet)
Bryan, this is a remote-controller I designed to be used without hands. Your mind is stronger than you think. You just have to set it free & anything is possible. Now go on, close your eyes & imagine you're a helicopter pilot. (X)
Bryan closes his eyes & concentrates but nothing happens.
SIMON
You don't have to try. Just dream it. Dream it taking off. Dream it flying all around the room.
Bryan's eyes close again.
A moment passes . . . nothing. Then, in a sudden spurt of energy, the helicopter's rotors start to spin. Bryan opens his eyes to look & they stop.
SIMON
Okay, keep your eyes open, but don't try to make it fly, Bryan, just let it happen. You almost did it, you can do it again.
Using his child's imagination, Bryan dreams that he's a helicopter pilot. He gazes at the helicopter. A few moments later the rotors start to spin again, getting faster & faster until the helicopter lifts off the table. The smile on Bryan's face grows a mile wide. Simon is as excited as Bryan.
SIMON
Make it soar, Bryan! Make it soar around the room!
As Bryan watches the helicopter it banks to the left, then the right. Bryan can hardly believe it. He starts to laugh, but when he does, the helicopter crashes to the floor.
BRYAN
What happened?
SIMON
What happened? Someday they'll talk about Elm Street like they did Kittyhawk! Bryan & Simon, the new Wright Brothers! We did it! You did it! You & me, the first to make it fly!
BRYAN (ecstatic)
That means no one . . . no one else can ever be the first!
(hugging Simon)
I love you, wizard, I love you! So much!
Simon's heart goes out to Bryan.
INT. K&D CAR - NIGHT - 22
Dixon's hands tightens around the barrel of the automatic weapon on his lap as he, Kneff & Chen watch Simon & Bryan hug good-bye at the front door. Rachel stays with Simon & Darcy while Alex walks Bryan to the car.
INT. FRONT DOOR - NIGHT - 23
Simon is very emotional, his sadness triggering his strength. He holds Rachel's hand in his. Darcy's expression REVEALS her concern for Bryan, & Rachel.
(X)
RACHEL
Thank you for letting Bryan visit you like this. It was a dream come true for him. (X)
SIMON
Bryan is a very special boy. Very special. Is he an only child? (X)
RACHEL
Well . . . Yes . . . & no. I guess you could say I've had two only children. His brother, Douglas, was twenty-two & living away from home when Bryan was born. (X)
(tears welling but held back)
You might say Bryan was an unexpected blessing . . .
SIMON
Have you spoken to Bryan's doctor about a bone marrow transplant from his brother?
RACHEL
He said it might help Bryan's particular form of Leukemia. At this point it's the only treatment that can, a bone marrow transplant from a sibling, but . . .
Tears coming.
DARCY
What is it, Rachel?
RACHEL
Douglas is an archaeology professor, unfortunately never the classroom type. Ten months ago he went to South America to look for some lost city. No one's even sure if it's real or legend. We've tried everything to find him, our embassies, the State Department, missionaries, universities, even revolutionaries . . . I've been praying he'd call us, or write . . . (X)
SIMON
Did he say the city's name? Was it Ro? Muribeca? El Dorado? Any of those sound familiar? (X)
RACHEL
He never said the name.
DARCY
Has the doctor said how long Bryan . . .
RACHEL
It's only a matter of days before he's too weak for the operation . . .
SIMON
Rachel, don't give up & don't let Bryan give up. Even if you exhaust every medical option, there are forces in nature medical science doesn't understand, forces within us that can work miracles.
RACHEL
I've been praying for a miracle . . .
Simon squeezes Rachel's hand as the SCENE TRANSFORMS INTO A KALEIDOSCOPIC IMAGE, turning the people & setting into an intricate design of color & shape. (We will use KALEIDOSCOPIC DISSOLVES to bridge certain time transitions; the next SCENE coalescing from its kaleidoscope design.)
KALEIDOSCOPIC DISSOLVE TO:
EXT. SIMON'S HOUSE - PREDAWN - 24
As the sun starts to rise on a new day we SEE K&D's car still parked across the street.
OUT - 25
INT. HALLWAY - PREDAWN - 26
The early morning quiet is shattered by drums! Alex bursts out of his room in pajama bottoms, head pounding, gun in hand, not yet knowing what the sound is. Darcy comes out of her bedroom wearing a beautiful, silk robe. Seeing Alex, his gun in hand:
DARCY
Cold feet & cold steel in the morning. (X)
ALEX
Don't start, it's too early -- what the hell's that noise?
DARCY
Simon. He's thinking.
INT. DEN - PREDAWN - 27
The floor is covered with old & new maps, books, & notes with scribbling on them. PAN TO the bass drum, Simon's foot playing it with an extended pedal, TO Simon's hands, fluid around the drumsticks, TO Simon's face, eyes closed, stereo headset providing passion in the form of music. Darcy & Alex come into the room. Darcy moves to the rhythm. She loves listening to Simon play. Alex is impressed.
ALEX
That's how he thinks?
(X)
Alex & Darcy watch Simon play. Whatever Simon's been thinking about finally comes together in his head. He does a rimshot, opens his eyes, hits the cymbals, twirls the drumsticks, spins down off the stool & takes off the headphones. (X)
SIMON
Good, you're up early. We really don't have much time. Darcy, phone Chester Howard please & tell him I need to use his plane again. And we'll need Linder to arrange blanket visas for South America.
ALEX
No, uh-uh, no way!
DARCY
Simon, we all want to help Bryan, believe me --
ALEX
Rachel didn't even know which country her son went to. I'm not letting you wander around South America, I don't care how idealistic the reason.
SIMON
Alex, an idealist is someone who thinks that because a rose smells better than a cabbage it'll make better soup. I am not an idealist. What I am is a private citizen free to do as I like. If you & Darcy want to help find Douglas Wayne, I'd love to have you along. If not, I'll see you when I come back.
ALEX
We can't go running off without knowing where we're going!
SIMON
We're going out the front door. That's the hardest part of any journey. After that, I promise I'll let you know as soon as I do . . . if you're along.
OUT - 28
(X)
EXT. GARAGE - MORNING - 28-A
Jack wheels a cart of carrying cases of various shapes & sizes to the garage.
INT. GARAGE - MORNING - 29
Darcy & Alex put their backpacks in the trunk of Simon's car (an old vehicle with pep & personality). Nearby, Simon packs an old seabag with carrying cases. Jack brings in more of them. As Simon puts them in the travel bag, it expands like an accordion.
ALEX
You tell us to just take backpacks & you're loading up for the winter. What is all that?
SIMON
Tricks of me trade, Alex. Tricks of me trade. Never know what'll come in handy.
As Simon packs the last case, Jack offers him a bag of candy bars.
JACK
Got you some candy for your trip. Your favorites.
Simon gazes at the candy like Eve at the apple. He wants to fight the temptation.
SIMON
Darcy . . .
DARCY (smiles)
Don't worry, Simon, I'll save you.
Playing it for fun, Darcy grabs the bag of candy like it were a bomb & runs off with it.
JACK
Simon, I just thought --
SIMON
It's all right . . . I'm fine now.
Alex watches all this shaking his head. He comes over to pick up Simon's travel bag. Reacting to the weight, he puts it down.
ALEX
I'm not gonna lug this through the jungle.
(X)
SIMON (adjusting something on handle)
It's my travel bag, I'll carry it.
ALEX
Right. You lift that thing off the floor & I'll carry you & it.
SIMON
That's very kind of you, Alex. I might take you up on that offer.
The bag has accordioned open & Simon lifts it effortlessly with one hand. Alex can't believe his eyes as Simon easily carries it to the car & puts it in the backseat. Alex turns to Darcy & Jack.
DARCY
You've let yourself get out of shape, Alex. It's sad.
ALEX (to Jack)
Okay, what's the trick?
JACK
No trick. Simon put liquid helium pouches inside. Release the gas, it counterbalances the weight. I designed the release. (X)
Alex stares at Simon, starting to understand why he's called the Wizard.
EXT. STREET - MORNING - 30
Simon's car pulls out of the garage & turns down the street with Simon driving.
INT. SIMON'S CAR - MORNING - 31
Alex is in the backseat. Darcy rides shotgun. the driver's seat has been elevated & the gas & brake pedals extended. Simon loves driving almost as much as he loves playing the drums.
EXT. STREET - MORNING - 31-A
As Simon's car comes around the corner, Dixon starts his car & pulls away from the curb.
INT. K&D CAR - MORNING - 32
Kneff has the semiautomatic rifle on his lap.
KALEIDOSCOPIC FADE OUT
Back to Top
END OF ACT ONE
***************************************************
(X)
ACT TWO
FADE IN
EXT. STREET - DAY - 33
Simon's car moves through traffic. K&D's car follows a car-length behind. Simon turns right.
INT. SIMON'S CAR - DAY - 34
In the backseat, Alex sees K&D's car turn behind them.
ALEX
Simon, turn left at the next block, would you?
EXT. STREET - DAY - 35
Simon's car turns left. So does K&D's car.
INT. SIMON'S CAR - DAY - 36
This time Darcy, looking in the side view mirror, also sees the car turn behind them.
DARCY
How long've they been there?
ALEX
Long enough to not be coincidence.
Simon suddenly screeches the car into a skidding U-turn!
DARCY
Simon!
SIMON
Just testing your theory!
EXT. STREET - DAY - 36-A
Simon's car completes the U-turn & speeds off in the opposite direction. K&D's car swings U-turn behind them, fishtailing into traffic as other cars swerve to avoid it!
INT. SIMON'S CAR - DAY - 36-B
SIMON
Theory proven!
Simon hits the gas & the car responds. The chase is on!
INT. K&D's CAR - DAY - 37
Kneff aims his weapon out the window!
P.O.V. (Point Of View) THROUGH SCOPE - 38
on one of the car's rear tires!
ANGLE - SIMON'S CAR - 39
Bullets explode into the asphalt near the tires!
INT. SIMON'S CAR - DAY - 40
Everyone reacts.
SIMON
Darcy!
Without even waiting for her, Simon lets go of the steering wheel & jumps into the backseat. Darcy lunges for the steering wheel, but can't operate the elevated pedals & steer at the same time! Seeing Simon in the backseat, Alex pushes him down.
ALEX
Get down!
Alex draws his gun.
SIMON
I am down! And put that gun away!
(X)
Alex looks forward to see: (X)
A TRUCK - 40-A (X)
stopping in front of them! (X)
BACK TO SCENE - 40-B (X)
ALEX (X)
Darcy, hit the brake!
(X)
Alex leans over the front seat, grabbing the steering wheel! Darcy has to use both hands to push down on the elevated brake pedal! Alex swerves to avoid a collision!
ALEX
The gas! Give it gas!
Darcy, lying on the front seat, lets go of the brake & uses her right hand on the accelerator!
In the backseat, Simon has opened his travel bag & removed one of the carrying cases. From it he removes a toy car about eighteen inches long & a remote-controller that looks like the dashboard & windshield of a car. Simon opens his car's backdoor.
ALEX
What're you doing?
SIMON
Keep driving!
Simon drops the toy car onto the street.
EXT. STREET - DAY - 41
The toy rolls along the asphalt, then stops. The Jaguar speeds past it pursuing Simon's car.
INT. SIMON'S CAR - 42
Simon activates the remote controller 7 the dashboard screen lights up with a video image received from a miniature camera in the toy car. Simon hits the gas.
ON THE STREET - 42-A
The toy car's rear wheels spin, burning rubber as it screeches off the line to join the chase!
INT. SIMON'S CAR - 42-B
Simon steers the little car with the remote steering wheel. he slides across the backseat as Alex turns sharply into an alley.
EXT. ALLEY - DAY - 43
Simon's car splashes though water-filled pot holes racing towards the next street! K&D's car skids into the alley & through the pot holes as Kneff FIRES another burst at the rear tire, but misses! (X)
INTERCUT:
SIMON & HIS P.O.V. THROUGH THE TOY CAR'S WINDSHIELD - 44
Zooming low to the ground, the feeling of speed is intensified! Every crack looks like a canyon, every rock a boulder! It's a dizzying, exhilarating, wild ride that Simon loves. The car has to steer a slalom course through the pot holes! (X)
(X)
EXT. ALLEY - LOW ANGLE - DAY - 45
K&D's car skids after Simon's car into traffic. The toy car approaches the corner! (X)
P.O.V. THROUGH THE TOY CAR'S WINDSHIELD - 46
A woman pushing a stroller suddenly looms in front of us like a giant!
IN SIMON'S CAR/ON THE SIDEWALK - 47
Simon sees her on his windshield screen & cuts hard to the right! The woman watches in shock as the speeding toy car skids to avoid her & takes off down the sidewalk! It's like driving through an obstacle course, except these obstacles are moving! We swerve to avoid shoes, boots, a near head-on collision with a skateboard, & the growling fangs of a Doberman! Simon turns his steering wheel to the left! People stare in amazement as the toy car speeds out a driveway back onto the street where it passes cars left, right & middle (going under them)!
ALEX (to Darcy)
Slow down, I'm turning!
SIMON
Don't turn!
ALEX
They're right behind us!
SIMON
I'm right behind them.
DARCY
What's he talking about?!
SIMON
Just stay in this lane!
ON THE STREET - 48
Simon's car CROSSES FRAME in a blur, followed closely by K&D's car followed closely by the toy car, gaining ground! (X)
P.O.V. THROUGH WINDSHIELD - 49
The asphalt is a blur below us! In front of us, the undercarriage of K&D's car, a tunnel above the whirling wheels! (X)
INTERCUT:
THE CARS, DRIVERS, & THE TOY CAR'S P.O.V. - 50
as it drives under K&D's speeding car. The toy steers dangerously close to the car's right, front tire. An antenna elevates from the toy car as Simon tries to keep it from being crushed. Simon hits a button on the remote control! (X)
INSERT - 50-A
A sizzling bolt of electrical current emanating from the antenna zaps the axle just behind the wheel!
BACK TO SCENE - 50-B
The right front tire explodes off K&D's car! Simon stands & looks out the rear window to see the car's axle dig into the street, sparks flying as the car spins to a halt. (X)
KALEIDOSCOPIC DISSOLVE TO:
EXT. AIRPORT - DAY - 51
A midsized, twin engine plane with extra tanks on the wings takes off.
(X)
INT. PLANE - DAY - 52
Darcy pilots the plane. Simon sits next to her immersed in old books & maps. Alex paces the narrow aisle.
ALEX
Should've gone back, found out who they were!
DARCY
We radioed Linder. He'll follow up.
ALEX
It's our responsibility.
DARCY
Simon's safety is our responsibility.
SIMON
El Dorado. Douglas Wayne has to be searching for El Dorado!
ALEX
How can you be so sure?
SIMON
Information plus instinct, Alex. I trust the feeling.
DARCY
Where is El Dorado, Simon?
SIMON
The Chibcha Indians spoke of a tribe that smeared tree sap on their chief, blew gold dust over him until he was gilded from head to toe, then rowed him to the middle of a sacred lake. After he dived in, others threw priceless offerings of gold & emeralds into the water. If any mortal removed the offerings, the chief would rise above the lake to slay him.
(refers to old map)
Most expeditions have searched here, at Lake Guatavita. But if I were Douglas Wayne, I'd look here, at Lake Tupa.
SHOT MOVES IN ON the map.
EXT. SOUTH AMERICA - DAY - 53
A mountain lake surrounded by dense overgrowth. Near the shore is an archaeological dig site: Tents, Indian laborers.
INT. TENT - DAY - 54
CLOSE ON a dirt-encrusted figurine in a man's hand. he scrapes delicately at it with a tool REVEALING the largest emerald we've ever seen set in gold. OPEN TO SEE DOUGLAS WAYNE, clothes & face covered with dirt. He holds the figurine like a child with a Christmas present. Suddenly the jungle echoes with the SOUND of a descending helicopter.
EXT. DIG SITE - DAY - 55
A large, corporate helicopter lands.
Douglas exits the tent & hurries past workers who are packing other golden objects into crates.
RICARDO REY, a distinguished businessman in an off-white suit, gets off the helicopter followed by four men clearly there to protect & defend him. MIGUEL PARTA, balding, in his thirties, comes to greet him.
Douglas runs to Ricardo Rey & embraces him, getting dirt all over Rey's suit as he swings him around. Rey's bodyguards reach for their guns but Rey shakes his head. Douglas puts him down. Throughout:
DOUGLAS
Senor Rey, if only you could've been here! It was the greatest moment of my life! My flashlight beam hit a fissure in the lake bottom & gold exploded like the sun. (X)
(hands him figurine with emerald)
El Dorado. The history, the culture, everything, here, right where I thought!
Rey holds the gold & emerald figurine like a proud father cradling his child.
REY
Are there more artifacts such as this?
DOUGLAS
Yes, yes, hundreds. Your national museum owes you a great debt, Senor Rey. And so do I. Without your backing -- your support, I'd never have even been here.
REY
This emerald is fantastic.
Rey tries to pull the emerald off the figurine.
DOUGLAS
Senor Rey, please, it's very fragile.
Rey pulls harder on it.
DOUGLAS
Please, sir, that's an archaeological treasure. (X)
Rey continues trying to wrench the emerald off. Douglas grabs his arm.
DOUGLAS
I said leave it alone!
Rey glances at his bodyguards who grab Douglas from behind. Douglas struggles.
DOUGLAS
Let me go! What is this? Rey, don't!
But Rey twists the emerald off! It's brilliant green light refracts on his face.
REY
Attached to that it was an archaeological treasure. Attached to me it is my treasure. I am El Hombre Dorado. (X)
Rey gestures & his men drag Douglas away.
OUT - 56-60
KALEIDOSCOPE FADE OUT
Back to Top
END OF ACT TWO
*******************************************
(X)
ACT THREE
FADE IN
EXT. LOWLANDS - DAY - 61
The sweltering sun beats down.
EXT. LOWLANDS - VARIOUS SHOTS - DAY - 61-A
Simon, Alex & Darcy trek through the overgrown terrain. Simon leads the trio carrying his travel bag himself. Alex isn't thrilled about hiking, slapping at a bug that seems to attack only him. Darcy loves the adventure.
Simon checks his compass & the map he's drawn, then chooses a direction as the others follow.
OUT - 62
ANOTHER PART OF THE LOWLANDS - 62-A
They've traveled a long way. Simon is able to duck & dart through the dense foliage, leaving Alex & Darcy to push their way through. Alex's shirt is soaked with sweat. Darcy doesn't even perspire.
ALEX
Don't you ever sweat?
Darcy
My family doesn't allow it.
ALEX
You didn't have to spend summers in Detroit.
DARCY
It doesn't matter where you are. It's simply a matter of composure. Self control.
ALEX
That's dangerous. Very dangerous.
DARCY
What is?
ALEX
Glandular denial. It's one of the chief causes of insanity among the rich.
Alex passes her, making his way after Simon.
(X)
EXT. LOWLANDS - LATER - 62-B
An iguana moves across the branch of a tree leading us to Simon, standing on the branch with his map & binoculars. He decides on the direction they should go & walks off the branch as if it were a short step to the ground.
BELOW - ALEX & DARCY - 62-C
Darcy sees Simon dropping our of the tree.
DARCY
Alex!
Alex looks up just in time to catch Simon, who is casual as can be, having no doubt that Alex would catch him.
SIMON
Thank you very much. This way.
Simon jumps to the ground & leads the trio off to continue their trek. Alex looks at Darcy, wondering more & more about this little man.
EXT. NEAR THE RIVERBANK - DAY - 62-D
The trio hikes along the bank of the river. Simon takes a deep breath.
SIMON
Can't taste air like this in a city. But someday, someday soon.
DARCY (knowing smile)
Someday what, Simon?
SIMON
Well, as Bob Dillon said, the answer is blowin' in the wind. It just needs a little help getting there. This reminds me of the trek to the Tashi Lhumpo Monastery in Tibet.
They walk on a ways, Alex staring at Simon, questions forming.
ALEX (to Darcy)
When was Simon in Tibet?
DARCY
I don't know.
Alex stares at Simon as he walks ahead of them.
OUT - 63-67
(X)
EXT. CAMPSITE - NIGHT - 68
They've set up camp for the night. Simon hums as he cooks over a campfire. Darcy isn't there. Alex leans on one arm staring at Simon.
ALEX
Simon, where were you for those six years? (X)
SIMON
Here & there.
ALEX
The top missing persons experts in the world couldn't find you.
SIMON
I'm very good at hide-and-seek.
ALEX
You're small but not that small.
SIMON
I'm comfortable inside my own skin.
ALEX
Simon, how are we going to work together if you don't trust me?
SIMON (as he cooks)
Alex, the Pentagon has five sides & I suddenly found myself on the opposite side of most of them. I needed time to get my priorities straight. I took the time. (X)
Darcy comes out of the jungle slightly uncomfortable. She holds up a handful of leaves.
DARCY
Simon, please tell me these won't cause a rash.
SIMON
You made an excellent choice, Darcy. And you're back in time for dinner.
ALEX (to Simon)
You love being a mystery, don't you?
SIMON
I think it was the great philosopher Popeye who said it best. 'I yam what I yam & that's all what I yam.' Let's eat.
As Simon dishes the food onto the plates with a spoon-shaped piece of bark, Darcy takes out her chrome-plated revolver & uses it as a mirror to put on lipstick.
ALEX
I don't think the Society Page photographers are gonna show up.
DARCY
Good manners apply no matter where you are. Did you even wash your hands?
ALEX (stuck for an answer)
I don't eat with my hands!
DARCY
Since when?
Simon hands out the plates with smaller spoon-shaped pieces of bark to eat with.
SIMON
The Chinese have a saying: 'Do not use a hatchet to remove a fly from your friend's forehead.' I have to know how you two met when you worked together before.
DARCY
How we met? He set up a 'chance encounter' so he could use me to spin his web around a German diplomat.
ALEX
I recruited her into the Agency.
DARCY
He said he was an economics professor. How I ever believed that . . .
(tastes food)
. . . Hmm, Simon, this is wonderful.
ALEX
Darcy, I trusted you with my life.
DARCY
I was the one who threatened to kill him.
ALEX (pushes food with spoon)
What is this stuff?
SIMON
It's good. Eat it.
ALEX
Tell me what it is first.
DARCY
Oh come on, taste it. (X)
ALEX
Hey, I've been eating in Europe's best three star restaurants.
SIMON (looking up at night sky)
Now you're dining in nature's million star restaurant. There's no better food in the world, especially with my recipes. Have a little taste. Come on, for me.
Alex shifts his weight, scoops up a little food on the bark spoon, & tastes it.
ALEX
Hey, this is good. Crisp on the outside, moist & chewy inside. Okay, so now tell me, what is it?
SIMON
A kind of potato. (X)
(X)
ALEX
What kind of potato?
DARCY
Sauteed potato . . . (X)
Darcy mumbles.
(X)
ALEX
Sauteed potato what? (X)
SIMON (beat)
Bug.
It takes a moment for the realization to hit home.
DARCY
If you don't picture it you'll be fine.
Alex spits it out in disgust!
(X)
He sees a canteen cup with something in it, gulps it down, then reacts to that taste!
ALEX
What's this?!
SIMON
Just a protein drink.
ALEX
Protein?! What kind of protein?!
DARCY
What difference does it make.
ALEX
I want to know what kind of protein?! What kind of protein?!
SIMON (beat)
Leech.
Alex is nauseous. He throws down the cup & staggers off to his backpack.
SIMON
I'd better go dig up something a little less exotic for Alex. He's going to need his energy for the highlands tomorrow.
DARCY
Simon. Are we going to make it in time for Bryan?
SIMON
We've got to.
DARCY
I know, but will we?
SIMON
If we take the most direct route.
(smells something)
How are you at mountain climbing?
DARCY
The higher the better.
SIMON (sniffing)
Good.
(X)
Simon's nose leads him to Alex, who has taken something out of his backpack & is tearing off the wrapper.
SIMON
Alex, what is that?
ALEX
A kind of . . . um . . . uh . . .
SIMON
A kind of what?
ALEX
Candy bar.
SIMON
What kind of candy bar?
ALEX
What difference does it make?
SIMON
I'd just like to know.
ALEX
Well it's . . .
(takes a bite)
. . . Mmmm, smooth, creamy Dutch chocolate . . . melts in your mouth. Thick, chewy caramel . . .
(takes another bite)
. . . with a thin, sweet layer of butterscotch.
SIMON
Alex, do you think I could . . .
Before Simon finishes the sentence, Alex puts the rest of the candy bar in his mouth.
Alex takes a bite & demonstrably savors it. Simon is salivating.
DARCY
Alex, how can you be so cruel?
ALEX
Candy is sweet, but not as sweet as sweet revenge. Go ahead, you two can share the mosquito mousse.
Alex stuffs the rest of the candy bar in his mouth as Simon dies just a little.
EXT. MOUNTAIN - SUNRISE - 69
The sun rises over the mountainous terrain.
OUT - 70
(Note from The MGT. - 1st part of Scene 70-A missing. Joined in progress)
DARCY
You're such a mother hen.
ALEX
I should be an iguana so I can keep one eye on each of you. Simon, wait up!
ANGLE - SIMON - 70-B
ignores Alex & keeps climbing.
(X)
EXT. MOUNTAIN TOP - DAY - 71 (X)
Simon reaches the top of the mountain & sees: (X)
SIMON'S P.O.V. - 71-A (X)
The archeological dig site below. (X)
SIMON - 71-B (X)
gets his binoculars for a closer look. (X)
P.O.V. THROUGH THE BINOCULARS - 72
Simon pans from the Indian workers hammering shut wooden crates & loading them on the helicopter to Douglas Wayne seated with his back against a wooden stake, his hands tied behind it. On either side of him are armed guards.
BACK TO SCENE - 73 (X)
As Alex & Darcy reach the mountaintop, Simon lowers the binoculars, troubled by what he's seen. (X)
EXT. DIG SITE - DAY - 74 (X)
Rey comes out of the main tent with two bodyguards. He passes Miguel.
REY (looking at Douglas)
When everything is aboard the helicopter, I want Douglas Wayne & the Indians the victims of another tragic quest for El Dorado. The Lost City will remain forever a legend.
Miguel nods.
ON THE RIDGE - 75
Alex grabs Darcy's blouse & rips it.
DARCY
Simon, don't worry. Alex & I will find out what's going on.
SIMON
No. I'm responsible for bringing you both here.
Alex rips another part of her blouse.
ALEX
And we're responsible for you. You stay here!
SIMON
We've come this far together --
ALEX
Hey! You know, I've had it just about up to . . .
(hand waist-high)
. . . here with you! Now you stay up here or I'll plant you here!
As if for punctuation, Alex takes a handful of mud & throws it on Darcy, who remains composed.
DARCY
Alex, calm yourself. Simon, we know how much this means to you. Just let us do this our way. Then if it's safe, we'll signal you.
SIMON
If it's not?
ALEX
We survived your cooking, we can handle this.
(to himself)
Maybe they have enchiladas down there.
Darcy & Alex start down the slope toward the lake.
ALEX (looking back)
Stay put!
(X)
Simon watches them go, worried about them. He opens his bag & searches through it for something, anything he can use to help them. His frustration at finding nothing turns into determination to rely on -- as he said to Rachel -- the forces of nature science doesn't yet understand. (X)
EXT. DIG SITE - VARIOUS SHOTS - DAY - 76
Some of the crates are being loaded on the helicopter. Douglas Wayne, hands tied to a pole, screams at Rey.
DOUGLAS
This is your own past, Rey! You're desecrating your own history!