The
Aztec Dagger
2nd Revised Final Script - January 14, 1987
Includes Revisions on January 14, 1987 (#s 1 & 2), January 15, 1987 (#3), January 16, 1987 (#4), January 19, 1987 (#s 5 & 6), & January 21, 1987 (#7)
Contributing Writers: Michael Cassutt & John Whelpley
Originally Aired
February 19, 1987
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 Revision # 1.(X) marks the spot for Revision # 2.(X) marks the spot for Revision # 3. (X) marks the spot for Revision # 4. (X) marks the spot for Revision # 5. (X) marks the spot for Revision # 6. (X) marks the spot for Revision # 7. And, finally, (X) marks the spot of revisions made on either January 14th or 15th (as script pages of the corresponding color are not precisely dated, we can only guess). All abbreviations will be (defined) immediately following the first appearance. And please remember that plagiarism or printing out copies to sell is not cool.
(X)
ACT ONE
FADE IN
EXT. DARK FOGGY STREET (HONG KONG SET) - NIGHT - 1
A dangerous place to play "Let's Make a Deal."
ANGLE - PAVEMENT AREA - AN OLD LEATHER TRAVEL BAG - 2
(X)
ANGLE WIDENS TO REVEAL, it belongs to AN OLD BUM, huddled against a dipsy-dumpster, sipping from a flask, the collar of his old leather jacket turned up against the cold. The SOUND OF ASTHMATIC BREATHING & FOOTSTEPS lifts his head & one eye toward:
P.O.V. (Point Of View) - THE SHADOW - 3 (X)
moving along a BUILDING WALL. Finally, RAYMOND APPEARS under the light of a solitary streetlamp -- his greased-back hair, rounded shoulders & dark eyebrows bearing resemblance to a vulture. He seems anxious. Carrying a leather case, he paces (X)
BACK TO THE BUM - 4
watching from the shadows, taking a nervous pull of whiskey, capping the bottle, pocketing it.
BACK TO RAYMOND - 5
A PAY PHONE RINGS; Raymond hesitates, answers it, listens, then:
RAYMOND
Yes, I have it. And we had an appointment, Mr. Solomen.
(beat)
I can't wait another twenty-four hours! I'll find another buyer.
MR. SOLOMEN says something on the other end that entices Raymond.
RAYMOND
That sounds equitable. Tomorrow. Same time. And bring cash.
Raymond hangs up the phone, tucking the leather case tightly under his arm. He turns: The Bum stands right behind him, eyes intense in a tired body. Raymond steps back, focusing on the man's face.
RAYMOND
You. I thought we'd heard the last of you in Madrid.
(X)
P.O.V. - THE BUM - 6
stepping into the lamplight, strong-boned features beaten down by booze & a hard-luck life. This is PROFESSOR JEREMIAH "JAKE" SAUNDERS. He has his hand in his pocket as if holding a gun.
JAKE
Give me the dagger.
RAYMOND
Why do you want it? It's the dagger that's made you what you are today.
JAKE
That's why I need it back. Give it to me.
He threatens with the hand in his pocket. Raymond is basically a coward.
RAYMOND
I worked hard to get this. I was in Marseilles & Hong Kong as long as you were!
JAKE
But it was stolen from me.
RAYMOND
It's been in a lot of hands since. Now it's in mine. However, if you can outbid Solomen Marcus for it . . .
JAKE
How much is your life worth?
Jake takes an aggressive step forward.
RAYMOND
You want the dagger back, all right, here.
Raymond opens the case REVEALING the Aztec dagger against black velvet. Even under the streetlamp it dazzles. Jake gazes at it with a mixture of emotions, as a man would a woman he's obsessed with but has destroyed him.
RAYMOND
Is it as you remembered it?
JAKE
Give it to me.
RAYMOND
Here. Take it.
Raymond extends the open case, then suddenly pulls the dagger & stabs Jake with it. Raymond pulls it back. Jake's hand comes out of his pocket as he grabs his wound, REVEALING not a gun, but the whiskey bottle.
RAYMOND
You had to know this would happen, that this dagger would one day kill you! You're not the man you once were.
With that, Raymond hurries into the night.
ANOTHER ANGLE - JAKE - 7
lands hard in the wet gutter near his bag. He's hurt, yet manages to take a swig of whiskey, which gives him the strength to pour what's left in the bottle onto his open wound.
EXT. SIMON'S HOUSE - TO ESTABLISH - NIGHT - 8 (X)
We hear the sound of the PHONE RINGING.
ALEX (voice over)
Hello -- What?!
INT. KITCHEN - NIGHT - 8-A (X)
ALEX is on the phone. His packed suitcase is next to him.
ALEX
What do you mean he got yanked into a congressional hearing? He was supposed to be here to fill in for me -- Right. Everybody's at some congressional hearing or other these day -- Yeah.
Alex hangs up, looks at his suitcase & sighs.
IN THE LIVING ROOM - 9
TILLIE is knitting. Simon rushes in. (X)
SIMON
Has Alex left yet?
Before Tillie can answer, Alex comes into the room.
ALEX
I'm not going.
TILLIE
What?
SIMON
But it's your best friend's wedding. You're the best man.
ALEX
Lindin just called. He can't get a replacement here to watch over you while I'm gone.
SIMON
Alex, I can take responsibility for myself. It's only four days. And I'm not planning to leave the house.
ALEX
When do you ever?
TILLIE
Go, Alex. Enjoy, I'll watch out for him. You don't have to worry.
Alex is uncomfortable with the thought. Simon comes over to him.
SIMON
Look, I've got that synthetic energy formula I'm working on. I'm going to be downstairs with the computer the whole time you're gone. Enjoy your friend's wedding. Give him our love. (X)
Alex decides that Simon's right.
ALEX
Don't go off on any wild quests.
SIMON
Go on, you'll miss your plane.
ALEX
I'll see you in a few days.
He exchanges farewells with Simon & Tillie.
IN THE KITCHEN - 9-A
Alex picks up his suitcase & goes out the back door.
INT. THE LIVING ROOM - 9-B
TILLIE
He is so sweet, but he really does worry too much.
SIMON
I know. What could happen?
(X)
Right on cue, ,the FRONT DOORBELL RINGS. Simon & Tillie look to one another.
TILLIE
Don't tell me he's changed his mind again.
Tillie goes to answer the door.
TILLIE (os.) (off screen)
Alex . . .?
JAKE (o.s.)
Simon McKay live here?
TILLIE (o.s.)
Who wants to know?
JAKE (o.s.)
Out of my way, woman . . .
Simon goes into:
THE HALL - 10
to see what's going on. There he encounters Jake, wet, dirty, seemingly drunk as he staggers forward carrying his bag.
JAKE
Simon . . .
Jake continues forward, then collapses on the floor. Simon rushes to him. Tillie comes up from behind.
TILLIE
Who is he?
Simon stares at Jake's bag, a sense of recognition that doesn't jive with the man he sees in front of him.
SIMON
Can't be . . .
TILLIE
Comes here to pass out drunk.
Simon kneels to take a closer look at the man & discovers his wound.
SIMON
Tillie!
TILLIE (seeing it)
Let's get him onto the couch!
INT. LIVING ROOM - LATER - 11
Jake is on the couch, conscious again, struggling against Tillie's efforts to wash his wound.
JAKE
For God's sake, woman, if you insist upon operating at least apply some anesthetic!
TILLIE (strong but tender)
I think you applied enough of your own. Hold still.
Simon enters carrying a bowl of hot water. He pauses for a moment taking a quiet look at his vagabond on his couch. Simon's expression is a mixture of compassion & disappointment. Then:
SIMON
I brought some more hot water. (X)
JAKE
I didn't ask for a bath.
TILLIE
I did.
JAKE
Who is she?
TILLIE
Who're you?
SIMON
Tillie, this is Professor Jeremiah 'Jake' Saunders.
TILLIE
One of your teachers?
SIMON
Much more than that. Jake Saunders is the greatest archeologist adventurer of all time.
(X)
JAKE
Was, my boy. Past tense. (X)
SIMON
What happened to you, Jake?
JAKE
Still asking dumb questions. I was stabbed.
SIMON
No, I meant . . .
(thinks better of it)
Who stabbed you?
JAKE
Who doesn't matter. It's what stabbed me.
Jake's gaze turns far away as his mind goes to the dagger.
TILLIE
I'll phone a doctor.
JAKE
No! It's only a flesh wound.
TILLIE
It's a three-inch gash!
JAKE
I'll be all right.
Jake struggles to sit up despite the pain. He reads Simon's expression.
JAKE
I know, Simon, I've changed quite a bit since you were all of thirteen sitting in the front row of my class. What do you remember most about me? (X)
SIMON (an emotional laugh)
Your bag.
JAKE
Yes, well at least I haven't lost that. But I did lose the Aztec dagger. Twenty years ago, & again tonight. Simon, I need your help to get it back. (X)
Jake is exhausted & falls back on the couch. (X)
EXT. SIMON'S HOUSE - DAY - ESTABLISHING - 11-A
INT. SIMON'S HOUSE - DEN - DAY - 12
Simon stands in front of one of the bookshelves looking through one of several old volumes he's taken off the shelf. Tillie enters.
TILLIE
Well, you can call off County Health -- Splish-splash, he's finally taking a bath. What are you reading?
SIMON
'Adventures Along the Inca Trail -- A Document of Discovery,' by Professor J.B. Saunders . . .
(another book)
I also have 'Plunder of the Pharoahs,' & 'Mavrakech Safari.' (X)
As Tillie takes it.
SIMON
There's no fiction that can rival the accounts of his adventures. Even the movies have tried & failed. (X)
CLOSE SHOT - INSIDE JACKET OF BOOK - 13
A PICTURE of a dashing Jake Saunders, standing on a cliff ledge, hat on, bullwhip dangling.
BACK TO SIMON & TILLIE - 14
TILLIE
-- hard to believe it's the same man up there putting a ring around our tub . . . (X)
SIMON
Look at his bag, Tillie. It's been everywhere with him. (X)
TILLIE
Wondered who you took after.
SIMON
Jake Saunders was my mentor, my inspiration . . . Now I'm not sure who he is . . . (X)
CUT TO:
INT. SIMON'S WORKSHOP - DAY - 15
OPEN ON Jake, showered but unshaven, in a bathrobe & sluggish posture, eyeing the gallery of Simon's toys.
JAKE
Thought you wanted to be an archeologist.
ANGLE TO INCLUDE SIMON - 16
approaching with a delicate primitive artifact in his hands:
SIMON
Everyone who took your class came out wanting to be one.
page updated July 6, 2008
Page Property of Michael Berk, Douglas Schwartz
Script from The Michael Berk Collection
email: themgt@thewizardtvfansite.com