Reunion
Tall Tale Tillie - 1st Draft Script - June 24, 1986
Originally Aired
September 16, 1986
Script Written for The Wizard of Elm Street
Written by Michael Berk & Douglas Schwartz
ACT ONE
FADE IN
EXT. HONG HONK - NIGHT (STOCK) - 1
City of mystery . . . Intrigue . . . At the docks, junks moored amidst the giant freighters.'
INT. FREIGHTER - CAPITAN ELI AKERS - NIGHT - 2
Sixties, a lifetime of adventure at sea etched in his weathered face, stands tall in front of two MUSCULAR MEN (one of them Oriental) who stop him from entering the ship's forward hold.
CAPITAIN AKERS (with dignity)
This is my ship. I'll not up anchor until my eyes personally see the cargo in her hold.
A hand grips the Captain's shoulder. Jenks, a renegade, ex-CIA operative in his forties, turns the Captain around, his eyes betraying his smile.
JENKS
Captain Akers, these men are carrying out instructions from the Pearl's new owner. Why not concern yourself with her safe passage to the States.
CAPTAIN AKERS
I don't give a rollin' hitch who owns her. Long as I'm captain she's my ship! And I know everything that goes on aboard my ship!
Despite his age, this strong, virile man pushes Jenks aside & moves towards the cargo hold, but the two guards subdue him.
INT. FREIGHTER CABIN - NIGHT - 3
PULL BACK FROM a porthole TO REVEAL a large cabin that seems out of place aboard a freighter. MUSIC from a MUSIC BOX sets the tone. Mist rising from humidifiers swirls in bright grow lights. Lush tropical plants flourish. Against one wall a highly sophisticated bank of computers monitors International Stock Exchanges, commodities markets, international shipping movements. A man's hands program the computer keyboard. There's strength here. Confidence. Elegance. A distinctive ring encircles his middle finger. This is TROYAN, a man whose face we never see . . . at least not yet.
ANGLE - JENKS - 4
obediently waits near Troyan's collection of music boxes until his boss is finished. Then:
JENKS
And what about Captain Akers?
CLOSE ON A BEAUTIFUL FLOWER - 5
extending out from a neatly-trimmed, tropical plant. Troyan's hand ENTERS FRAME holding a highly-polished pair of pruning shears. He speaks in a voice that is simultaneously calm & intense.
TROYAN (o.s.) (off screen)
When a flower grows too far from the stalk it threatens the symmetry of the plant. There is only one option open.
Troyan coldly cuts the flower off & it drops to the floor, petals scattering by Troyan's expensive slippers. As the music box continues to play:
INT. SIMON'S HOUSE - CLOSE ON A CHILD'S HAND - WORKSHOP - DAY - 6
Deftly moves the joy stick of a video game. PAN TO the hands of her opponent on the other controller. The second player's fingers are long, hairy & without the benefit of an opposable thumb. As he deftly controls his joy stick other kids cheer the players on.
CLOSE ON the graphics of a video game. The competition is stiff. PULL BACK TO REVEAL the players. One is MOLLY, an eight-year-old girl. The other is JUNIOR, a considerably younger spider monkey. Four other kids root & kibitz with the biggest cheerleader of all being SIMON MACKAY.
ACROSS THE ROOM - ALEX JAGGER - 7
sorts through the day's mail. Envelope after envelope is addressed to the Wizard of Elm Street, many in children's printing, delivered without benefit of an address. Alex almost passes one addressed on to him. He smells it. Perfume. He opens it with anticipation.
BACK AT THE VIDEO GAME - 8
Junior wins & does a back flip. The kids cheer for Junior & vie to play him next.
ALEX - 9
does a slow burn as he reads his letter. He slowly crushes it when he's through. Suddenly Junior bounds onto his shoulder, putting his arms around Alex's neck.
ALEX
Junior, stick to video games. Life's not fair.
SIMON
Junior, come on. Leave Alex alone.
Junior leaps over to Simon, who catches the monkey in his arms. The kids surround Simon, wanting to play some more, but Simon sees that something is troubling Alex.
SIMON
That's it for today. Junior needs his rest. Saturday we'll have another tournament for the grand championship of Elm Street.
Simon reaches around to Junior's back.
INSERT SHOT - 10
Simon opens a hidden compartment under the monkey's fur REVEALING a high-tech control panel. He shuts Junior off.
BACK TO SCENE - 11
The computerized, mechanical monkey becomes inanimate.
MOLLY
Simon, when can we get our own monkeys?
The other kids want to know as well.
SIMON
Christmas. By Christmas the toy shops will have an entire pet store full of Tranimals, dogs, cats, birds, mice, hamsters . . .
(puts his hand on boy's shoulder)
. . . So people like Ricky, who have allergies, can still have pets. People whose landlords won't allow animals will let them have Tranimals.
RICKY
Simon, do we have to go now? My house is so boring.
MOLLY
Yeah, there's nothing to do at our homes.
SIMON
Nothing to do? You call boating down the Amazon with crocodiles snapping at the rudder, or scaling Mt. Kilimanjaro where one false step could be your last, or battling the evil Lord Tartarian for control of the planet Pelsec nothing to do?
RICKY
What do you mean? We can't do any of that stuff?
SIMON
You can do all that & more. All you need is your imagination. There's no better place in the world to play. You can go anywhere, do anything, & have a hot lunch waiting when you're through.
INT. FRONT DOOR - DAY - 12
Excited by the realm of possibilities Simon has presented, the kids say good-bye & rush off to play at home. Simon waves good-bye.
INT. LIVING ROOM - DAY - 13
Alex comes in with the large stack of Simon's mail. The table is so cluttered there's no place to put it down. Simon enters.
ALEX
Not much mail for you today.
SIMON
I love opening envelopes. It's like unwrapping presents. Unless it's my electrical bill.
ALEX (finds spot, drops them)
How can anyone with such an organized mind live in such a disorganized house. Why not invent something to straighten this place up?
SIMON
Then I'd never find anything. My clutter is very organized. Here . . .
(gestures around room then points to his head)
. . . and here.
Simon picks up a package from his stack of mail, looks at the postmark.
SIMON
Hong Kong. Wonder what it is.
Simon shakes the package. As he excitedly opens it:
SIMON
Where was your letter from, Alex?
ALEX
Vienna.
SIMON
Oh. From that opera singer?
ALEX
From Darcy. Lindin gave her my old assignment! Can you believe that?
SIMON
Life is full of surprises, that's for sure.
ALEX
I don't like surprises. I want to know what's going to happen & be ready for it when it does.
Having opened the package, Simon takes out an antique necklace with flat, smooth, scrimshaw-etched shells of varying shapes & sizes. He appears troubled.
ALEX
Simon, what is it?
SIMON
Um. . . It's a necklace I gave to an old friend fourteen years ago. It was made in the eighteenth century by a sailor while he was in prison in Tangiers.
Simon searches through the box for a note, a message, something. But it's empty.
ALEX
Why'd she send it back to you?
Simon gazes at the necklace.
SIMON
Hopefully we can find out.
Simon rushes out of the room. Alex goes after him.
INT. WORKSHOP - DAY - 14
Simon rushes to the door of his inner sanctum, presses the numbered key pad & the door slides open. He rushes in. Alex hesitates at the door. Simon looks back.
SIMON
Come on, we're mates now. I've no secrets from you.
INT. INNER SANCTUM - DAY - 15
As Alex enters he takes in the full scope of Simon's private workshop.
ALEX
No secrets?
SIMON
Open book.
ALEX
Open book?
SIMON
Right.
ALEX
Okay, where were you during the six years when no one could find you?
SIMON
That's another book.
Simon goes to his worktable.
CLOSEUP - 16
Simon slips the carved shells of the necklace off the strand & spreads them on his worktable. Laid flat they resemble pieces of a jigsaw.
SIMON - 17
on his stool, begins to assemble the pieces of the puzzle. Alex occasionally reaches over Simon's shoulder & fits pieces in. There's no competition here, just two men working well together. Throughout:
SIMON
The design is scrimshaw. Most sailors carve it in whale's teeth or ivory tusks. But this is a one of a kind necklace. You have to fit the pieces of shell together in order to form the picture.
ALEX
What's the picture of?
SIMON
A whale capsizing a longboat.
Alex finds a central piece & fits it in.
SIMON
Good one, Alex.
ALEX
I've always been good at putting puzzle pieces together.
(looks at Simon)
Unraveling mysteries.
(beat)
So, who was the lucky lady you gave this to?
SIMON
The most warm hearted, wonderful woman you'd ever want to meet. Tillie Kragle. There's not another living soul like Tillie.
ALEX
Sounds like it was pretty serious.
SIMON
Alex, Tillie was like a mother to me & a thousand other sailors she cooked for, cared for & pulled out of barroom brawls from Bombay to Borneo.
(finishing puzzle)
That does it.
The scrimshaw depicts what Simon described. He appears disappointed.
SIMON
I was hoping there'd be a message from Tillie on it. I was sure there'd be.
Alex studies it, then:
ALEX
Simon, lift up that side of the plexiglas.
Simon realizes what Alex is thinking. He & Alex each lift a side of the plexiglas sheet covering the worktable.
NEW ANGLE - 18
Through the bottom of the clear plexiglas we can SEE the other side of the necklace/puzzle. There, carved in the other side: "9/24/86 -- S.S. PEARL -- MONTERREY."
SIMON & ALEX - 19
stare at the cryptic message.
ALEX
September twenty-fourth. That's tomorrow.
SIMON
We've got to get to Monterrey! Tillie's in trouble!
ALEX
How do you know it's trouble?
SIMON
I know Tillie!
EXT. MONTERREY DOCKS - DAY - 20
CLOSE ON the S.S. PEARL'S name & registry number. PULL BACK TO REVEAL the freighter in port as tape barricades are stretched across the dock.
ANGLE - SIMON & ALEX - 21
approach a DOCK WORKER stretching out the barricades. Simon carries his bag.
ALEX
Excuse me. Hi. Why the barricades?
DOCK WORKER
Half the Pearl's crew came down with some kind a' bug yesterday. She's under quarantine. No one gets on or off 'til the Health Department Inspectors check her out.
Alex & Simon look at one another. Simon is very concerned.
EXT. DOCK - LATER - 22
CLOSE ON a PORT AUTHORITY OFFICER as an open wallet is thrust in his face, too close for him to focus on.
ANGLE - ALEX - 23
stands in front of him with Simon at his side.
ALEX
County Health. If anyone's gotten on or off this ship I'm holding you responsible.
(put wallet in other Officer's face)
Both of you!
(puts wallet away)
Why'd it take so long to contact us?
OFFICER #1
Ship just docked, Sir.
During the above, Simon has withdrawn a futuristic-looking electronic device from his bag & scans the Officers as one would with a metal detector.
OFFICER #1
What's he doing?
ALEX
Measuring contamination levels.
Lights on the device flash on & off. Warning tones BEEP. Simon appears concerned. He presses a button on the device & a compartment slides open. He holds it up to Officer #1.
SIMON
Spit in here please.
ALEX
And be careful, very careful not to get any on the dock . . . or your shoes.
The Officer leans close to the device & spits into it (behind a cupped hand of course).
A red warning light flashes on the device, accompanied by a rapid BEEP TONE.
OFFICER #1
What's that mean?!
Simon takes out two pieces of hard candy.
SIMON
Don't worry, you'll be fine as long as you suck on these. Get out of those clothes & burn them. Then take a hot shower for at least ninety minutes. Relax for the rest of the day.
The Officers quickly unwrap the candies & pop them in their mouths.
ALEX
We'll need quarantine clearance badges immediately.
OFFICER #2
Yes, Sir. Of course. Here they are.
Alex takes them, cautious not to be contaminated.
ALEX
Hang in there.
SIMON
Do what I told you & you'll be fine. But hurry.
The Officers rush off. Alex pins a badge on himself & hands one to Simon, then points at the electronic device.
ALEX
What is that thing?
SIMON
Anything I want it to be. Come on, we'll start our inspection in the galley. I hope Tillie's all right.
Simon puts the device away as they start up the gangway.
INT. GALLEY - DAY - 24
Two tough-looking SAILORS dodge flying pots & pans!
TILLIE (o.s.)
I've fed sailors from Istanbul to Madagascar & never poisoned an able-bodied one of 'em!
ANOTHER ANGLE - 25
Standing in the center of the galley like a Texan at the Alamo is TILLIE KRAGLE, a sixty-year-old whirlwind whose face & form fit her name. She holds two halves of a waffle iron, on in each hand.
TILLIE
Now move it out a' my galley 'fore I make your cheeks look like waffles!
She hurls one of the skillets & skitters past them, caroming off a storage cabinet & stopping at Alex's feet. PAN UP.
ALEX
That's a warm-hearted, motherly Tillie?
SIMON
The one & only.
Tillie, unable to see Alex & Simon from where she is, advances on the two Sailors like a gunfighter with the remaining waffle iron at her side.
TILLIE
I've defended my galleys from Jack Tars starved for grub & starved for love & never lost an onion or my pride. If I'd poisoned you, you sure as salt wouldn't be here to moan about it!
(spots Alex; raises waffle iron)
Who the devil are you?!
The Sailors look at Alex so he has to keep up the act. Simon can't be seen over the top of the counter. Alex touches his badge.
ALEX
Health Department.
SAILOR #2
Get your nose into that pot over there, the one with the green steam cloudin' over it! But breathe in at risk of your life!
TILLIE
Touch one a' my pots, I'll flatten your hand like a dab!
Suddenly a SQUEEKING SOUND gets everyone's attention.
ANOTHER ANGLE - 26
Simon's hand is the only part of his body that can be SEEN above the counter. His index finger rubs across the stainless steel top. Everyone watches it as it stops & is lifted for examination.
SIMON (o.s.)
Streptococci!
Tillie stares at the finger, her heart starting to pound. When she sees Simon step out from behind the counter she's ready to rush over & squeeze him tightly, but Simon keeps the act going for the benefit of the Sailors.
SIMON
There's probably enough fungus in this galley to condemn Cleveland!
Tillie pushes the warmth we witnessed momentarily back behind her tough veneer.
TILLIE
You must a' lost your way. Snow White ain't around. And don't whistle 'til your outside the bulkhead!
Tillie turns so she won't crack a smile.
ALEX (to Sailors)
All right, gentlemen, you're going to have to clear the galley now so we can investigate the source of this problem.
Alex escorts the Sailors toward the bulkhead. Behind them, Simon plays his role to the hilt.
SIMON
The grease under this stove is so thick the cockroaches can't even get out!
TILLIE
You've got the perfect view!
SIMON
Look at these pots. They're disgusting!
TILLIE
I've cooked in these pots for thirty-seven years!
SIMON
Don't you think it's time you washed them?
TILLIE
How'd you like to inspect one from the inside!
Tillie reaches for Simon.
ANOTHER ANGLE - 27
Alex closes the bulkhead behind the Sailors.
BACK TO SIMON & TILLIE - 28
with their audience gone, Tillie lifts Simon up & spins him around.
TILLIE
Simon, I knew it! I knew you'd come!
(to Alex)
I'm the only one he'd ever let do this to him!
Tillie squeezes Simon, then puts him down.
SIMON
Still got the boys after you, eh?
TILLIE
Nothin' I can't handle. Lemme look at you. You've grown.
SIMON
I've put on a little weight.
TILLIE
Good, you were always too skinny.
SIMON
Tillie, this is my good friend & associate, Alex Jagger.
Tillie greets Alex with a hardy handshake & a slap on the shoulder.
TILLIE
Any friend of Simon's has me in his corner.
ALEX
Simon's told me a lot about you.
TILLIE
Did he tell you about Singapore?
ALEX
No. What happened in Singapore?
TILLIE
What didn't happen is more like it. Simon & I walked into this waterfront dive & the next thing we knew --
SIMON
Tillie, I'm sure Alex would love to hear our adventures, but the legit health inspectors could show up any minute. What's going on? Why'd you send the necklace?
TILLIE
Simon, remember Eli Akers? Captain Akers? Ladies in every port used to claw & scratch over him.
SIMON
I remember you doing your share of the clawing & scratching.
TILLIE
Well after twenty years he put on some age & some weight & I finally started lookin' good to him. We were gonna get spliced --
ALEX
Spliced?
SIMON
Married.
TILLIE
And then they come & tell me he accidentally fell overboard in Hong Kong harbor. Cracked his skull on the wharf they say. Eli could walk the port rail in a squall & not slip a step! Fall by accident?! In port?! No way. They killed him, I know it.
ALEX
Why would someone want to kill him?
TILLIE
The Pearl got bought in Hong Kong. New owners brought in their own first mate, navigator, signalman, whole chain of command got out of whack. Captain's gotta be top ink or it's mutiny. So Eli went to have it out with them . . . next thing they say he . . .
(emotionally)
. . . Story of my life. All my favorite people leave me.
SIMON
Tillie, I'm so sorry.
TILLIE (squeezes Simon's hand)
But thank God some come back. Simon, I fed those gobs turned tuna. Nothin' serious, food poisoning, they'll get over it, but I had no choice.
ALEX
Why, Tillie?
TILLIE
Had to get us quarantined so the cargo couldn't be off-loaded 'til Simon could get here.
SIMON
Smugglers?
TILLIE
I feel it in my bones. A ship creaks louder when there's contraband in her hold. And this crossing's been an ear-splitter.
Alex looks as Simon wondering if this is another tall tale.
SIMON
Tillie's always had reliable bones.
TILLIE
They've had a twenty-four hour watch on the forward hold since we set out a' Hong Kong.
SIMON
I'll get in there for a quick look-see. Alex, stay here with Tillie --
ALEX
No. If anyone's going to chance getting in there it'll be me.
SIMON
Alex, I've been making my way through ships since I was a cabin boy. I can travel fore to aft through spaces other people don't even know are there.
Simon has taken some small items from his bag & put them in his pockets.
ALEX
Simon, you could be getting in over your head.
Simon slips a drain cover in the floor aside.
SIMON
Most things are over my head, Alex. I'm used to it. Get Tillie out of here. I'll meet you on shore in half an hour.
With that, Simon slips into the hole & is gone. Alex takes a deep breath to calm himself.
ALEX
Has he always been like this? So bullheaded?
TILLIE
He's been full speed ahead since the day I met him.
Tillie goes over to the large pot boiling on the stove. She shuts off the flame & begins fishing around inside with a long pair of tongs. Throughout:
TILLIE
It was in Morocco. Three Jack Tars off a whaler were rippin' at each other's ears over me. When I didn't want any of 'em they got tough-nasty. The I hear this voice from behind say, 'Come one step nearer the lady & you'll have me to go through!' I turn around, there's no one there. Then I look down. It's Simon, standin' three-foot ten, but lookin' eight feet tall. I mean, you'd a' thought he had the tenth fleet behind him the way he stared those sea dogs down. But it was just him. And me. When the dust settled those whalers were blubber. And Simon & me, we were like Ducrabs. Know what Ducrabs are?
ALEX
I have a feeling I'm about to.
TILLIE
They're two hermit crabs sharin' the same shell. It's wall to wall clawin' & grabbin', but Lord help the creature tries to separate 'em. Ah, got it!
Tillie pulls out a large, closed shell.
ALEX
Ducrab?
TILLIE
Oyster. After forty years aboard ships you find safe places to hide things. Here, put that down your pants. I gotta get some stow out a' my cabin before we meet Simon.
Tillie gives Alex the hot shell. He has to toss it between his hands before he carefully puts it down his pants.
INT. SHIP - MONTAGE - DAY - 29
Simon crawls, squeezes, slips & slithers though narrow crawl spaces, pips & tube ways. Some are tight fits, but he pushes onward holding a small flashlight.
Simon finally reaches a vent opening into the forward hold.
SIMON'S P.O.V. (Point of View) - THE FORWARD HOLD - 30
is small & empty except for several dozen crates on pallets in the center.
SIMON - 31
sets about opening the vent cover.
INT. TROYAN'S QUARTERS - CLOSE ON A COMPUTER SCREEN - DAY - 32
With the price of gold futures in various countries. A different music box plays.
TROYAN (o.s.)
I appreciate your cooperation & I will show my gratitude appropriately.
SHOT PULLS BACK TO INCLUDE a cellular phone as Troyan's hand hangs up the receiver.
FROM ACROSS THE ROOM - 33
Troyan swivels in his custom chair to face Jenks. The area behind Troyan is very bright allowing us the illusion of SEEING him when all we really SEE is his silhouette distorted by the back of the chair. The feeling we get here is of a strong, powerful man in complete control of his environment.
TROYAN
The quarantine will be lifted immediately. Prepare the cargo for unloading. Make sure the trucks are ready to transport it as soon as it clears customs.
JENKS
Yes, Sir.
TROYAN
Jenks. You could afford to be patient working for the CIA. Working for me affords you no luxury. We are behind schedule. The time must be made up before tonight.
JENKS
I understand.
Jenks exits. Troyan turns back to his bank of computers.
INT. FORWARD HOLD - DAY - 34
Simon pads across the crates. Using his version of a Swiss Army knife he pries one open. The nails SQUEEK.
OUTSIDE THE FORWARD HOLD - 35
The two Guards don't hear the noise. But Jenks comes down the passageway toward them.
IN THE HOLD
Simon removes one of a hundred transistor radios from inside the crate. He inspects it. Why all the fuss over transistor radios. Simon pries it open to examine the electronics inside. He removes one of the circuit modules.
THE BULKHEAD - 37
suddenly opens! The guards enter with Jenks!
SIMON - 38
quickly puts the radio back & closes the crate. Even though he does so quietly, the SOUND echoes through the hold!
JENKS - 39
senses go on the alert!
JENKS
You, that way. You, around there!
The guards are sent to opposite sides of the crates. Jenks approaches from dead on!
SIMON - 40
hides amidst the crates. He reaches into his pocket.
ONE OF THE GUARDS - 41
walks toward Simon! Suddenly a mouse scurries out from between crates & scampers away between some others. It's enough to distract the guard & possibly explain the noise.
SIMON - 42
ducks around behind another crate. He removes a second Tranimal mouse from his pocket & turns it on. The little legs start churning before he puts it down.
THE OTHER GUARD - 43
moves through the crates looking high & low! CLOSE on his feet as he approaches Simon. Suddenly a mouse runs out in front of him.
SIMON - 44
sneaks around to the other side near the vent where he got in. He looks at the vent, gauging his chances for escape. He takes out the third & last mouse. He peeks out to see the guards converging to his right. Simon turns the mouse on, then sets it down. The little mechanical animal runs out about a foot, then suddenly starts spinning in a tight circle! Simon winces. He carefully reaches out & gives the mouse a flick with his finger. It takes off running. As the guards turn away, Simon bolts toward the vent, right into the barrel of Jenks' gun!
Simon touches the badge on his chest.
SIMON
Health Inspector. Have a real rodent problem down here.
Jenks holds up one of the mice that he's caught, its little legs churning energetically.
SIMON
Must've gotten into the vitamins.
Jenks cocks his gun.
FADE OUT
Back to Top
END OF ACT ONE
*****************************************************
ACT TWO
FADE IN
INT. FREIGHTER - PASSAGEWAY - DAY - 45
Tillie & Alex come out of Tillie's quarters, Tillie with her duffle bag, Alex with Simon's carpet bag.
TILLIE
This way.
ANOTHER PASSAGEWAY - 46
Tillie & Alex come around a corner heading toward a stairway when they hear:
SIMON (o.s.)
All right, you caught me, call the police, I'll confess everything.
JENKS (o.s.)
You'll confess all right. But on this ship we interrogate our own way.
Alex & Tillie duck into the well behind the stairs. Alex puts Simon's bag down & draws his gun. He motions for Tillie to stay there & stay quiet.
The two Guards come down the steps ahead of Simon, with Jenks behind him, guns in hand.
Alex waits for the Guards to pass. One of them unlocks the brig door with a barred window in it. As Jenks & Simon walk off the stairs, Alex steps out, his gun aimed at Jenks! Alex is calm, an efficient, experienced agent.
ALEX
Drop your weapon & step back. Either of them moves a finger, you get blown away.
But Jenks is also an efficient agent, albeit post facto. he keeps his weapon aimed at Simon.
JENKS
You want to test my reflexes, pull the trigger.
SIMON
Look, there are better ways to handle this. Why don't you both put your guns away & we'll work all this out.
Neither man lowers his gun. Alex stares at Jenks.
ALEX
You'll never get the shot off.
JENKS
Test me!
SIMON (nervously)
No one like to take tests. Let's just --
Suddenly Tillie lunges out from behind Jenks & belts him with her duffel bag! His gun goes off but misses Simon, who, when he realizes he hasn't been shot, is very grateful. As Alex goes to get Simon, the two Guards race forward & jump him, knocking his gun loose.
Jenks recovers & tries to aim his gun, but Tillie belts him again with her duffel bag & his gun goes flying.
When it comes to self-defense, Simon is not a wallflower. He jumps into the fray between Alex & the Guards, able to use his size to his advantage.
THE MELEE - 47
is wild & wooly, & as long as it's three against three, Alex, Simon & Tillie more than hold their own. Simon spots his bag under the stairwell & tries to get to it, but the gunshot has brought others & our heroes are subdued. Simon's bag remains under the stairwell, unseen by Jenks & his men.
JENKS - 48
has retrieved his gun & holds it on Simon, Alex & Tillie.
INT. BRIG - DAY - 49
Simon, Alex & Tillie go into the brig. The iron door is locked behind them. Jenks looks in through the steel-barred window.
JENKS
You better pray you have all the right answers.
(to Tillie)
I knew you were as rotten as your food!
Jenks exits up the stairs & the others disperse.
INT. FORWARD HOLD - DAY - 50
Customs officials inspect random crates. All contain home electronics, radios, stereos, VCRs. The senior CUSTOMS OFFICER signs the proper forms & hands it to the First Mate.
CUSTOMS OFFICER
Cargo's approved for unloading. See you next trip.
He exists. The First Mate is glad to have this paper in hand.
INT. BRIG - DAY - 51
Sitting cross-legged on the office, Simon pulls the circuit module he took from the transistor radio out of his day-glow sock. He puts on his half-glasses (one lens has been broken in the fight) & begins to examine it. Alex looks for a way out of the brig. He checks out the door & lock, tests the strength of the steel bars. They're thick & solid. Throughout:
TILLIE (exhilarated by the fight)
Last time I felt like this was '73 in Marseilles. We were eating Bouillabaisse, Simon & me, when a free-for-all broke out, spread through the joint like wildfire! Glasses breakin', bodies flyin' past, teeth splasin' in our soup. Someone hit Simon with a raw flounder & I grabbed the gob & force fed Bouillabaisse through his nose!
(looks at Simon)
Ah, Simon, I forgot how boring life is without ya.
SIMON
I've missed you too, Tillie. I'm glad I came.
Simon comes to the center of the room with the module.
SIMON
They're smuggling advanced electronics inside radios, stereos. This circuit is too powerful. Far too advanced. This is meant to be part of a much more powerful & sophisticated mechanism.
ALEX (concerned)
Nuclear?
SIMON
It's possible
ALEX
Tillie, you said the S.S. Pearl has a new owner. Do you know who it is?
TILLIE
No, & if I don't it's not meant to be known. He made the crossing with us though, but never showed his face once between shores. But every night at three bells the watch was sent below. I figured it was his time to get out of his quarters, so one night I got in. Alex . . .
Tillie gestures to Alex's pants. He's not sure if his zipper is down or what.
TILLIE
The shell -- you didn't lose it during the ruckus -- say you didn't lose it!
Alex takes the closed oyster shell out of his pants & gives it to Tillie.
ALEX
As a matter of fact I'm glad I had it.
Tillie breaks the shell open REVEALING a flat, foil-wrapped package. She unwraps the foil REVEALING several Polaroid photographs. Throughout:
TILLIE
I ain't never seen quarters on a ship outfitted like this. Like an Aquadorian jungle in there. Sticky, hot, plants everywhere. Music boxes, computers, it was weird.
(hands photos to Simon)
I took these.
As Simon looks at the photographs, his hands start to tense around them, his whole mood changing.
SIMON
Was it very bright in there, Tillie, or did you use a flash?
TILLIE
Bright in there as sunlight off an Admiral's brass at noon.
Simon turns away, his entire body tensing. A deep scar has been uncovered, a button pushed.
ALEX
Simon?
SHOT MOVES IN ON Simon's face, his eyes intense, his jaw rigid. The words squeeze out between his lips.
SIMON
It's Troyan!
TILLIE
Troyan. I know that name. You used to get your back up about him way back when.
SIMON
Troyan is my nightmare, a curse I've lived with since we were young. In school we were dubbed the two students most likely to succeed, which was one student too many for Troyan. He locked me in the science lab & set it on fire, but I managed to get out . . . barely. When Troyan was expelled he swore he'd destroy me. And he's tried, many times over the years. In between he's built a powerful organization that feeds on destruction. If Troyan can't own it or control it he'll destroy it, or destroy anyone who stands in his way of getting it.
(looks at circuit)
Troyan . . . I should have known.
INT. TROYAN'S QUARTERS - DAY - 52
Another Music Box PLAYS as we FOCUS ON the Tranimal mouse in Troyan's powerful hand. There is tension in his fingers we've not seen before
TROYAN (o.s.)
I've only known one man in my life who'd use his genius to make something so trivial. What did he look like, the one who had this.
JENKS
He was small --
TROYAN (o.s.)
How small?!
JENKS (hands out)
Like this. You know, a dwarf.
Troyan slowly stands, his hand tightening around the toy mouse, his ring cutting into it.
TROYAN (o.s.)
Simon MacKay! I knew it!
Troyan squeezes the mechanical mouse until it breaks apart, its inner workings dropping to the floor.
INT. BRIG - DAY - 53
CLOSE ON one of the photographs Tillie took magnified through the remaining lens of Simon's spectacles. the printing on one of the computer screens can barely be made out.
ANOTHER ANGLE - 54
Alex studies the photograph.
ALEX
Looks like Troyan purchased the mineral rights under a lot of private property in a town called Milford.
TILLIE
There's a Milford inland from Monterrey.
ALEX
There's one house here on Lotus Drive he purchased outright. What do you think, Simon? What's he up to?
Simon fingers the sophisticated circuit board in his hand.
SIMON
The answer lies in whatever it is he plans to assemble with these components once he's smuggled them into the country.
Suddenly the intensely-bright light of the ship's emergency floodlights explodes in through the barred window in the cell door! Simon hides the circuit module back in his sock. Alex pockets the photographs.
Footsteps echo louder as they approach the door. An ominous shadow slides across the cell as the man appears at the barred window, silhouetted against the bright floods. Alex squints to make out his features but the bright backlight prohibits it.
TROYAN (o.s.)
I've waited too many years for this moment.
SIMON
This is between you & me, Troyan. Let them go.
TROYAN (o.s.)
Ah, Simon, still playing fair. Haven't you learned that I don't play fair. I play to win.
SIMON
So do I.
TROYAN (o.s.)
When you disappeared for so many years I was afraid you'd died & deprived me of my greatest pleasure.
TILLIE
How 'about the pleasure of my hands around your neck?!
Tillie reaches through the bars but can't get Troyan. Simon urges her to show restraint.
SIMON
Tillie, Tillie, it's all right. He'll get what he deserves.
TILLIE
What he deserves is sharks pickin' the flesh off his bones!
TROYAN (o.s.)
I'm afraid that even lies in your futures. When I return from shore, you'll be moved into a ballast tank, & when we're at sea I'll order it flooded. You'll appreciate this, Simon. I'm having an underwater camera installed so I can watch you gasp your last breath of life.
SIMON
That's very creative. Uninspired but I suppose it's as much as can be expected from you.
TROYAN (o.s.)
Simon, I pray your soul survives death so it can witness what I accomplish tonight. Then you can suffer in your own, private hell at not being able to stop me this time.
The floodlights go off. Troyan melts into the shadows. Alex looks out through the bars, then back at Simon.
ALEX
Couldn't get a good look at him in that light.
SIMON
Troyan never liked people to see him. He's had plastic surgery more than once. I doubt if even I could recognize him now.
Simon takes out a small harmonica & starts playing a little TUNE over & over again. One note is discordant & irritating.
ALEX
If you're going to play a funeral dirge, at least hit the right notes.
SIMON
These are the right notes.
OUTSIDE THE BRIG - 55
in the stairwell is Simon's bag. Each time Simon plays the tune, the flap on his bag is knocked up by something inside trying to get out.
FADE OUT:
Back to Top
END OF ACT TWO
**********************************************************
ACT THREE
FADE IN
INT. BRIG - DAY - 56
Simon continues to play the same tune of the harmonica.
INTERCUT:
INT. PASSAGEWAY - DAY - 57
The object inside Simon's bag finally makes good its escape, flopping out & tumbling to the floor. It's a stocky little toy man names GRUNT, the expression on his face that of a wrestler in pain.
Simon plays a different TUNE.
Grunt's arms rotate, standing him upright on squat, muscular legs.
SIMON
Alex, keep a watch. He'll be coming from under the stairwell.
ALEX
Who?
SIMON
Grunt. Tell me when he's under the bar.
Simon plays a different TUNE. Curious, Alex looks out the barred window.
Grunt's body lowers on his spring-loaded legs. When the springs disengage the toy jumps high & far toward the brig. Alex isn't sure how to react to what he sees coming.
ALEX
At least he seems to like your music.
TILLIE
Let me see.
Tillie joins Alex as they watch Grunt reach the cell door.
ALEX
He's arrived.
SIMON
All right, when he jumps up, catch him!
Facing one another, Alex & Tillie each stretch one arm out through the bars, briefly reacting to their intimate positioning.
ON THE STAIRS - 58
One of the guards walks down toward the brig!
IN THE BRIG - 59
Simon plays his TUNE & Grunt springs straight upward! Alex & Tillie reach for him but miss & he falls back to the floor!
TILLIE
Play it again, Simon.
ON THE STAIRS - 60
The guard has heard the noise & puts his hand on his gun.
BACK TO SCENE - 61
Simon plays the TUNE. Grunt squats down, then springs upward! Alex & Tillie reach for him! Alex catches Grunt's arm & pulls him in to the cell a split second before the guard comes around the corner.
Alex hides Grunt in his pocket as the guard looks in through the bars. Simon plays the harmonica as a condemned prisoner would. He hits a note he shouldn't & Grunt jumps in Alex's pocket! Simon blanches but Alex covers & the guard moves on. Tillie watches him through the bars.
TILLIE
Coast's clear.
Alex takes Grunt out of his pocket.
ALEX
Okay, we got him in, now how is he supposed to help us get out?
SIMON
Put him between the bars & pivot his arms out to the sides.
ALEX (as he does it)
Simon, these bars are solid steel. You can't expect this little guy to --
SIMON
Little guys can do a lot more than most people think. Just make sure he's centered between the bars.
Simon plays the harmonica & Grunt's powerful arms press outward. Living up to his name, Grunt grunts as he strains against the bars which start to spread! Like a little Hercules between the pillars, Grunt grimaces as he pushes the thick, steel bars until one snaps!
EXT. FREIGHTER - DAY - 62
A sailor stands guard at the top of the gangway. Suddenly an arm comes around his neck & pulls him backwards! Alex applies a chock hold & the man passes out. Alex drags him behind an outcropping on the deck. Simon, carrying his bag, & Tillie appear. The three stay low as they sneak down the gangway.
EXT. DOCK - DAY - 63
A FISHERMAN holds his line in the water. Near him is his old motorcycle & sidecar. Alex, Simon & Tillie rush up. Alex shows his identification.
ALEX
Federal officer. I'm afraid I need to commandeer your vehicle.
FISHERMAN
Best not.
SIMON
You'll be reimbursed for any damage.
FISHERMAN
No, I mean, you best not 'cause the thing don't hardly run.
EXT. FREIGHTER - DAY - 64
Jenks & one of the other guards kneel over the sailor Alex took out. Jenks scans the area. He spots Simon, Alex & Tillie on the dock.
JENKS
There they are!
EXT. DOCK - DAY - 65
Alex spots Troyan's men running down the gangway after them!
ALEX
There's no time! Get in!
Alex helps Tillie & Simon into the sidecar. Alex kicks the old motorcycle's starter. It won't start.
SIMON
What's the best way to Milford?
FISHERMAN (re (regarding) motorcycle)
Anyway but on that.
The motorcycle finally sputters to life. The old Fisherman hands Simon an old, leather helmet & darkened goggles.
FISHERMAN
Milford's out Route Nine 'bout forty miles. Lotsa luck.
SIMON
Thanks.
Alex puts the bike in gear & it lurches forward.
NEAR THE FREIGHTER - 66
Jenks & his men climb in two vehicles on the dock, a jeep & a pickup truck.
ON THE DOCK - 67
The motorcycle lurches along in spurts & starts, the sidecar bouncing over the planks.
ALEX
The linkage is slipping!
Simon pulls on the helmet & goggles, leans out of the sidecar & starts working on the engine with tools from his bag.
TILLIE
They're in our wake!
ALEX
Hang on!
Alex cuts the bike hard to the left, the sidecar lifting partially off the ground! Tillie holds onto Simon who keeps working on the motorcycle despite the danger.
TILLIE (exhilarated)
Simon, I forgot the way my blood starts pumpin' around you.
ALEX
Get down!
Tillie's eyes go wide as she sees where Alex is headed!
ANOTHER ANGLE - 68
There's a narrow, L-shaped space between a building & dock machinery! Tillie pulls Simon into the sidecar! Alex squeezes the motorcycle through, the sidecar barely slipping underneath the overhang!
ON THE DOCK - 69
The jeep & truck skid across the wood as they see Alex take a route they can't follow! We SEE Jenks in the truck holding a CB (radio). The jeep takes off in one direction, Jenks in the other!
ON THE OTHER SIDE OF THE DOCK - 70
The motorcycle sputters across to the intersecting wharf! Simon reaches in between the pipes! The motorcycle hits a bump! The tool is knocked out of Simon's hand into the linkage! The engine stalls three feet from the edge of the wharf.
THE JEEP - 71
speeds around the corner.
THE TRUCK - 72
around the other! Jenks sees the motorcycle at the edge of the wharf, a sitting duck!
JENKS (on CB)
Ram them over the edge!
THE JEEP - 73
accelerates toward the motorcycle!
SIMON - 74
leans halfway out of the sidecar to retrieve the tool, which he does! Alex kicks the starter down! The motorcycle won't start!
THE JEEP - 75
bears down on them!
ALEX - 76
kicks the starter again & again -- Nothing! Simon makes mechanical adjustments!
SIMON
Try it now!
Alex does -- it won't start!
THE JEEP - 77
is almost on them!
TILLIE
Its' now or never!
SIMON - 78
makes another adjustment!
SIMON
Hit it!
Alex kicks the starter! The engine comes to life! Alex pops the clutch! The bike lurches forward! The jeep tries to adjust! No time! Brakes lock! Wheels skid off the edge of the wharf! Men jump! Jeep splashes into the ocean followed shortly thereafter by the men.
ON THE WHARF - 79
The truck is still coming after them! Alex gives it full throttle! It doesn't respond!
ALEX
It's still slipping!
IN THE TRUCK - 80
Jenks leans out the passenger window, aims his gun & FIRES!
THE MOTORCYCLE - 81
The bullet ricochets off the sidecar! The truck is gaining! Simon keeps working on the engine! Another bullet barely misses! Alex cuts around a corner! There it is, open road away from the wharf! But the motorcycle can't pick up speed!
THE TRUCK - 82
closes around! The rough wharf changes to smooth road. Now Jenks can get a good shot. He aims!
SIMON - 83
leans far out of the sidecar to make a final adjustment!
JENKS - 84
pulls the trigger!
THE MOTORCYCLE
engine roars & the bike surges like a Harley in overdrive! As the bullet hits their dust Simon is thrown back against Tillie who holds on to him for dear life!
ANOTHER ANGLE - 86
The motorcycle roars away from the truck like it was standing still! Jenks can't believe his eyes as he watches the old motorcycle & sidecar disappearing from sight.
EXT. SUBURBAN COMMUNITY - ALLEY - AFTERNOON - 87
CLOSE ON a large crack in the pavement where the earth beneath has shifted causing the alley to severely buckle. OPEN TO FIND Simon, Alex & Tillie hiding in an alley, the motorcycle nearby. They're surreptitiously watching.
A HOUSE - 88
down the street where men in identical coveralls carry in crates from a moving van. It's a tract home in a middle-class neighborhood. People mow their lawns. Kids ride their