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.
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.
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.
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.
Mackay hasn't worked for the Pentagon since '78! What are we still providing him security for?
He carries out assignments for us from time to time & we don't want him jeopardized.
Assignments? The guy makes toys!
(looks at dossier)
There're no entries here between '78 & '84. What went down between warland & toyland?
He vanished. Disappeared.
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?
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.
You can never trust food -- I never trust food unless my mother makes it. And even then I feed some to the dog first.
That's why you're the perfect replacement. Also because Darcy Stafford was Henderson's partner. Now she'll be yours.
I'm right. This is punishment!
You recruited her.
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)
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
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.
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.
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.
Oh goodness, goodness, are you all right?
If you don't count hallucinating.
I have a handkerchief here some place.
Simon searches through his pockets, pulling out scraps of paper & pieces of electronics.
Simon Mackay, meet Alex Jagger. You'll have to excuse his reckless abandon, he has a habit of diving into assignments.
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.
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.
It's just one little piece of candy.
You said you wanted to cut down on sweets, that only a fool can't control bad habits.
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.
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.
What do you miss most abut childhood, Alex?
Nothing. I hated being little -- nothing personal.
But you must have loved to play games. Every child likes hide-and-seek.
Where I grew up you played it to get home alive.
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:
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)
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.
It's a great assignment, Alex.
Wha' da ya' do for thrills, play hide & seek? Or maybe tag with a gladiator -- speaking of fantasies.
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.
If we do not carry this out quickly, getting him to Hong Kong may become a serious problem.
Hong Kong will definitely decay without us British. You see, we have patience.
That is a luxury you may indulge on your own time, Mr. Kneff.
Do you actually believe, Mr. Chen, that you can sell Simon Mackay to the highest bidder?
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)
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.
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.
Bryan, of all the wishes you could wish, you wished to be here with me. That makes me feel very special. Very, very special.
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)
What is that stuff?!
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.
Simon, it's awesome! I can't believe it, it's unreal!
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.
Everyone, this is my occasional assistant, Jack Brooks. Unfortunately, he'd rather be a sorcerer's apprentice. (X)
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.
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.
You mean to tell me that started out that tiny -- nothing personal.
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?
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.
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.
He just said that to make Bryan feel special, right?
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.
That where you keep the new toy? Locked in there?
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.
We'll share one, okay?
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:
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.
What's it like being little? I mean, being grown up but not . . . I mean, you know.
The truth is I forget I'm short until something happens to remind me.
I'm sorry. I didn't mean to --
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.
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.
By imagining that you're the pilot.
I can't make it fly by imagining it.
How do you know until you've tried?
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.
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.
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.
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.
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!
That means no one . . . no one else can ever be the first!
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.
Thank you for letting Bryan visit you like this. It was a dream come true for him. (X)
Bryan is a very special boy. Very special. Is he an only child? (X)
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 . . .
Have you spoken to Bryan's doctor about a bone marrow transplant from his brother?
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 . . .
What is it, 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)
Did he say the city's name? Was it Ro? Muribeca? El Dorado? Any of those sound familiar? (X)
He never said the name.
Has the doctor said how long Bryan . . .
It's only a matter of days before he's too weak for the operation . . .
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.
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:
Cold feet & cold steel in the morning. (X)
Don't start, it's too early -- what the hell's that noise?
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.
That's how he thinks?
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)
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.
No, uh-uh, no way!
Simon, we all want to help Bryan, believe me --
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.
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.
We can't go running off without knowing where we're going!
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
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.
You tell us to just take backpacks & you're loading up for the winter. What is all that?
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.
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.
Darcy . . .
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.
Simon, I just thought --
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.
I'm not gonna lug this through the jungle.
SIMON (adjusting something on handle)
It's my travel bag, I'll carry it.
Right. You lift that thing off the floor & I'll carry you & it.
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.
You've let yourself get out of shape, Alex. It's sad.
ALEX (to Jack)
Okay, what's the trick?
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
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.
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.
How long've they been there?
Long enough to not be coincidence.
Simon suddenly screeches the car into a skidding U-turn!
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 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
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 draws his gun.
I am down! And put that gun away!
Alex looks forward to see: (X)
A TRUCK - 40-A (X)
stopping in front of them! (X)
BACK TO SCENE - 40-B (X)
Darcy, hit the brake!
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!
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.
What're you doing?
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)
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)
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!
They're right behind us!
I'm right behind them.
What's he talking about?!
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)
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.
INT. PLANE - DAY - 52
Darcy pilots the plane. Simon sits next to her immersed in old books & maps. Alex paces the narrow aisle.
Should've gone back, found out who they were!
We radioed Linder. He'll follow up.
It's our responsibility.
Simon's safety is our responsibility.
El Dorado. Douglas Wayne has to be searching for El Dorado!
How can you be so sure?
Information plus instinct, Alex. I trust the feeling.
Where is El Dorado, 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:
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.
Are there more artifacts such as this?
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.
This emerald is fantastic.
Rey tries to pull the emerald off the figurine.
Senor Rey, please, it's very fragile.
Rey pulls harder on it.
Please, sir, that's an archaeological treasure. (X)
Rey continues trying to wrench the emerald off. Douglas grabs his arm.
I said leave it alone!
Rey glances at his bodyguards who grab Douglas from behind. Douglas struggles.
Let me go! What is this? Rey, don't!
But Rey twists the emerald off! It's brilliant green light refracts on his face.
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
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.
Don't you ever sweat?
My family doesn't allow it.
You didn't have to spend summers in Detroit.
It doesn't matter where you are. It's simply a matter of composure. Self control.
That's dangerous. Very dangerous.
Glandular denial. It's one of the chief causes of insanity among the rich.
Alex passes her, making his way after Simon.
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.
Alex looks up just in time to catch Simon, who is casual as can be, having no doubt that Alex would catch him.
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.
Can't taste air like this in a city. But someday, someday soon.
DARCY (knowing smile)
Someday what, 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?
I don't know.
Alex stares at Simon as he walks ahead of them.
OUT - 63-67
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.
Simon, where were you for those six years? (X)
Here & there.
The top missing persons experts in the world couldn't find you.
I'm very good at hide-and-seek.
You're small but not that small.
I'm comfortable inside my own skin.
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.
Simon, please tell me these won't cause a rash.
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?
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.
I don't think the Society Page photographers are gonna show up.
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!
Simon hands out the plates with smaller spoon-shaped pieces of bark to eat with.
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.
How we met? He set up a 'chance encounter' so he could use me to spin his web around a German diplomat.
I recruited her into the Agency.
He said he was an economics professor. How I ever believed that . . .
. . . Hmm, Simon, this is wonderful.
Darcy, I trusted you with my life.
I was the one who threatened to kill him.
ALEX (pushes food with spoon)
What is this stuff?
It's good. Eat it.
Tell me what it is first.
Oh come on, taste it. (X)
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.
Hey, this is good. Crisp on the outside, moist & chewy inside. Okay, so now tell me, what is it?
A kind of potato. (X)
What kind of potato?
Sauteed potato . . . (X)
Sauteed potato what? (X)
It takes a moment for the realization to hit home.
If you don't picture it you'll be fine.
Alex spits it out in disgust!
He sees a canteen cup with something in it, gulps it down, then reacts to that taste!
Just a protein drink.
Protein?! What kind of protein?!
What difference does it make.
I want to know what kind of protein?! What kind of protein?!
Alex is nauseous. He throws down the cup & staggers off to his backpack.
I'd better go dig up something a little less exotic for Alex. He's going to need his energy for the highlands tomorrow.
Simon. Are we going to make it in time for Bryan?
We've got to.
I know, but will we?
If we take the most direct route.
How are you at mountain climbing?
The higher the better.
Simon's nose leads him to Alex, who has taken something out of his backpack & is tearing off the wrapper.
Alex, what is that?
A kind of . . . um . . . uh . . .
A kind of what?
What kind of candy bar?
What difference does it make?
I'd just like to know.
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.
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.
Alex, how can you be so cruel?
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)
You're such a mother hen.
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.
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.
ON THE RIDGE - 75
Alex grabs Darcy's blouse & rips it.
Simon, don't worry. Alex & I will find out what's going on.
No. I'm responsible for bringing you both here.
Alex rips another part of her blouse.
And we're responsible for you. You stay here!
We've come this far together --
Hey! You know, I've had it just about up to . . .
. . . 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.
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.
If it's not?
We survived your cooking, we can handle this.
Maybe they have enchiladas down there.
Darcy & Alex start down the slope toward the lake.
ALEX (looking back)
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.
This is your own past, Rey! You're desecrating your own history!
Douglas pulls against the ropes until one of the armed guards kicks hi! Suddenly the sky above the nearby jungle turns gray as a massive flock of birds soars out of the foliage. Rey gestures to two of the armed guards who run toward the area to investigate.
EXT. JUNGLE - DAY - 77
Alex circles the rim of the camp, staying low, moving swiftly.
THE ARMED GUARDS - 78
push the bushes aside with the barrels of their rifles. Hearing movement, one of them turns, aiming his rifle right at:
DARCY - 79
on her knees, clothes torn & burned, dried mud caked on her skin. She reaches toward the guards for help.
EXT. MOUTAINSIDE - DAY - 80
Alex slips silently down the hill behind where Douglas is being held. Below he sees Darcy being brought into camp by the guards. As attention in the camp focuses on Darcy, Alex moves toward Douglas.
EXT. DIG SITE - DAY - 81
Miguel, Rey & others come toward Darcy.
DARCY (exhausted; in pain)
Please . . . do any of you speak English . . .? Habla Ingles?
Darcy's beauty is not lost on Rey, nor is her torn clothing.
I speak English.
Thank God . . . please, do you have water . . . I'm so thirsty . . .
Workers run to get water. Tears well in Darcy's eyes.
I was so afraid . . . I never thought I'd . . .
She can't go on as sobbing overcomes her. Darcy is so convincing that if we didn't know this was an act we would absolutely believe her.
Senorita, what happened? Tell me?
DARCY (through tears)
We were flying to Bogota . . . My husband . . . it got dark so fast . . . the mountains . . .
The water arrives. Rey holds it for her.
ANGLE - DOUGLAS WAYNE - 82
watches from across the camp as Darcy gulps down the water. One of the armed guards walks several feet in front of the other to get a better view. SHIFT FOCUS TO the bushes as Alex APPEARS behind them.
ANGLE - DARCY - 83
finishes the water, monitoring Alex's movement out of the corner of her eye. she takes a step forward, SCREAMING in pain, grabbing her ankle & collapsing. As Rey & the others react:
ALEX - 84
pulls the rear guard backwards with a choke hold that renders him unconscious in seconds.
DARCY - 85
cringes in pain, squeezing the boot around her injured ankle. In Spanish, Rey instructs his men to carry Darcy to his tent.
ANGLE - ALEX - 86
sneaks up behind the forward guard. Douglas Wayne sees him. Alex gestures for Douglas to keep quiet, but he's already begun an utterance. The guard turns, aiming his rifle at Alex! But Alex grabs the barrel, pivots the rifle away from the guard & drives the butt into his stomach.
ANGLE - DARCY - 87
springs up like a cat, pulling her chrome-plated revolver from her boot, putting it to Rey's head while slipping behind him with her forearm around his throat.
Tell them to drop their weapons!
Rey tells them in Spanish. When several aren't quick enough, Alex fires the rifle he's taken into the air! Rey tells them again with more intensity. They drop their weapons.
Alex goes to cut Douglas free with a knife.
Thanks, I'm glad to see you, whoever you are.
Why are you tied up like this? What's happening here?
As his ropes are cut, Douglas jumps up & starts toward Rey, pointing at him.
What's happening? Greed! That's what's happening here!
ANGLE - DARCY & REY - 87-A
Despite the barrel of Darcy's gun aimed at his head, Rey is still charming.
I am Ricardo Rey, President of Rey Del Sol. I hired Mr. Wayne, he works for me. Everything found here is legally mine.
Most businessmen don't usually tie up their employees.
Douglas, approaching with Alex, reaches into Rey's pocket & pulls out the emerald.
This & everything on that helicopter is going to the National Museum where it belongs! Where we agreed it would go!
Douglas shoves the emerald in Rey's face. It's a mistake! Rey grabs Douglas' arm & pulls him into Darcy! Two of Rey's men rush toward her! Alex fires, hitting one of them, but several guards jump him! Douglas tackles the man Darcy's struggling with!
As the fight rages, a deep RUMBLING SOUND begins, like the preamble of an earthquake (although the earth does not move).
As Alex, Darcy & Douglas find themselves terribly outnumbered & held at gunpoint, everyone becomes aware of the portentous sound emanating from the ground around them. Alex's mind is elsewhere.
ALEX (to Rey)
Look, you say this stuff is yours. Fine. We only came to bring Douglas back to the States. His family needs him & --
DOUGLAS (to Darcy)
My family? What . . .
Darcy indicates she'll explain later. Rey searches for the source of the rumbling.
ANGLE - THE LAKE - 88
Windblown ripples spread across the water. Suddenly something shiny breaks the surface. Sunlight reflects brilliantly off its golden surface.
AT THE DIG SITE - 89
The RUMBLE grows louder, like the fury of an angry God. The Indian workers become frightened.
I don't know.
ANGLE - THE LAKE - 90
The mysterious, golden object continues to rise out of the water. Sunlight explodes off an ancient, golden headdress. Beneath it, a golden head rises from the water.
OUT - 91-131
AT THE DIG SITE - 132
As the RUMBLING from within the earth increases, some of the Indians spot the golden object. They point & back away.
ANGLE - REY & THE OTHERS - 133
turn to see the golden shoulders & torso emerge from the lake. Rey gazes in disbelief as the figure's eyes open & his arms rise, spreading out a scalloped, golden robe . . . Imposing . . . Godlike. The figure continues out of the water, levitating several feet above the surface without any visible means of support. If we haven't yet realized that it's Simon, a commanding presence despite his small size, somehow defying the laws of gravity, we do now.
THE INDIANS - 134 (X)
One points at the golden figure. (X)
El Hombre Dorado!
Soon the name echoes with the RUMBLING earth. "El Hombre Dorado! El Hombre Dorado!" The workers start running away in fear. (X)
ANGLE - ALEX, DARCY & DOUGLAS - 135
The RUMBLING is so LOUD now it seems that the earth will split wide open. Douglas is as stupefied as Rey & the others. Alex & Darcy realize that it's Simon, which doesn't stop them from staring in wonderment. Alex & Darcy seize the moment &, grabbing Douglas, make a break for it. With workers fleeing in all directions, they run toward the rocks.
Darcy changes direction leading Alex & Douglas toward the helicopter.
ANGLE - REY - 136
is transfixed by the Godlike figure. Miguel spots Darcy, Alex, & Douglas running to the helicopter. He points them out to Rey, who yells in Spanish for his men to stop them. Rey's men open fire.
ANGLE - 137
Bullets ricochet as Darcy, Alex, & Douglas reach the helicopter & climb on board. Rey turns back toward the lake, scrutinizing the golden figure. Suddenly his eyes focus on something. He draws his pistol.
ANGLE - THE LAKE - 138
Simon stands majestically above the water, arms holding his robe outstretched, unaware that the golden substance he used to coat himself is dripping off the palm fronds he's utilized to make his robe & headdress! But when he sees Rey aiming his pistol, Simon looks down, sees the gold dripping off him, registers an "uh-oh." Rey fires! The bullet pierces the palm frond under Simon's arm, ripping it loose! Simon, his concentration broken, plummets into the water. The RUMBLING SOUND & wind stop. Another bullet pierces the water as Simon disappears below the surface.
IN THE HELICOPER - 139
Darcy, in the pilot's seat, gets the rotors stared. Alex kicks a guard who tries to climb on board as Darcy pulls back on the joystick.
EXT. DIG SITE - DAY - 140
The helicopter lurches into the air, tilts unstably to the left, then to the right, then lifts upwards in a hail of gunfire.
IN THE HELICOPTER - 141
Darcy fights to control the chopper & Douglas & Alex hold on.
Tell me these are evasive maneuvers!
I've only flown a helicopter once, leave me alone.
You're doin' great, really, you're doin' great.
We've got to get Simon!
DOUGLAS (looking down at lake)
You know what that -- who that was?
ALEX (looking down)
Yeah -- Where is he, do you see him?
He sank under water & hasn't come back up.
Darcy & Alex scan the lake & shore for Simon.
THEIR P.O.V. - 141-A
There is no sign of Simon except for the golden headdress floating on the water.
OUT - 141-B - 141-C
KALEIDOSCOPIC FADE OUT
Back to Top
END OF ACT THREE
EXT. LAKE - DAY - 142
The helicopter hovers erratically above the lake. There is still no sign of Simon.
IN THE HELICOPTER - 143
Darcy fights to keep the helicopter aloft as they all search the water for Simon.
How'd he rise up out of the water like that? Straight up like that. (X)
How? He's the wizard! How should I know ?! (X)
EXT. DIG SITE - DAY - 144
Rey scans the water as his men fire at the helicopter! Simon has not reemerged.
ON THE SHORE AT THE SIDE OF THE LAKE - 145
Suddenly Simon surges out of the water gasping for breath. He crawls out of the lake, most of teh gold washed off his body & clothes.
AT THE DIG SITE - 146
Miguel spots Simon on the shore, a quarter of the way around the lake! He tells Rey in Spanish! Rey, brandishing his pistol, leads his men after Simon; several firing their rifles.
IN THE HELICOPTER - 147
Alex sees Simon making his way toward the escarpment.
There he is!
Here goes nothing.
Darcy holds her breath & banks the helicopter toward the side of the lake.
SIMON - 148
sees Rey & his men running toward him. Bullets ricochet off the rocks! Simon kneels at the escarpment where he's hidden his travel bag. He looks up.
THE HELICOPTER - 149
overshoots him, then dips back, unsteadily hovering high above.
REY & HIS MEN - 150
have almost reached the escarpment! Some shoot at Simon, others at teh helicopter!
turns the bag upside-down - 151
IN THE HELICOPTER - 152
Alex leans out the open door looking down for Simon.
Flatten out, flatten out! Bring her down! Now! Now!
Darcy tries to bring the chopper, loaded with heavy crates, down toward Simon, but it lurches, almost flinging Alex out the door!
There's too much weight!
ON THE GROUND - 153
Simon twists the handle of his travel bag. The bottom opens up & a balloon emerges. It's soon large enough to lift Simon off the ground.
Rey's men try to shoot Simon & the helicopter down!
As Simon floats upwards, bullets whiz dangerously close to him & the balloon.
IN THE HELICOPTER - 154
Darcy, Alex, & Douglas watch in amazement Simon floating toward them.
Who is he?
I told you. He's the Wizard. (X)
Hold her steady, Darcy. You're doin' great.
Darcy Tries her best to hover stablely.
If he floats up too far the blades'll chop him to bits!
Despite the rifle fire from below, Alex climbs out the door onto the landing gear!
SIMON - 154-A
floats up gripping the bag tightly, a long way to fall!
REY'S MEN - 154-B
shoot at him!
THE HELICOPTER - 154-C
not as steady as it could be, hovers above.
SIMON - 154-D
ascends to within several feet of the helicopter, his hair whipping in the powerful wind caused by the rotor blades. But the helium-filled balloon can't lift him any higher against the downdraft! In fact, it blows him back down!
ALEX - 154-E
reaches for Simon!
DARCY - 154-F
fights to hold the helicopter steady!
OUTSIDE - 154-G
Between the downdraft & the helium, Simon bounces up & down like a Ping-Pong ball in Bingo parlor! He lets go of the bag with one hand & reaches out toward Alex! Bullets threaten to puncture the balloon or worse, their bodies! Alex stretches as far as he can, his large hand within inches of Simon's small hand!
A bullet rips into the balloon! Simon drops! Alex lunges! Their hands connect! Alex pulls Simon up! Douglas helps them both into the helicopter.
INT. HELICOPTER - DAY 155
Simon & Alex end up on the floor. Alex's large hand still firmly gripped around Simon's small hand. As Darcy pilots the helicopter away, Simon looks warmly into Alex's eyes.
Very happy to have your lifeline around mine, Alex. Very happy.
EXT. SKY - DAY - 156
The helicopter flies away from the dig site.
OUT - 157
INT. HELICOPTER - DAY (LATER) - 158
Douglas is shaken & stunned by the news about his little brother. He sits on the floor leaning against one of the crates containing the El Dorado treasure. He holds one of the golden pieces in his hand. (X)
When Dad died I became more like Bry's father than his brother . . . He seemed so healthy when I left. I . . . I can't believe . . . I just got so obsessed with all this, finding El Dorado . . . I lost track of everything else. If anything should happen to Bry . . . (X)
Don't worry, we're going to make it, & so will Bryan. Darcy, radio the local authorities to meet us at the plane.
We'll turn all this over to them for delivery to the National Museum & tell them where to pick up Rey for delivery to jail. Then we'll get word to your mother that we're on our way.
Thank you, all of you.
Simon pats Douglas on the back & goes toward the pilot's seat where Darcy is radioing in their message, but Alex intercepts him.
Okay, wait, I gotta know how you did that.
Oh, just some gold paint, some palm fronds . . .
No, no, you know what I'm talking about. It was like an earthquake down there!
That. Alex, the Earth is always vibrating, from waves crashing to shore, fissures grinding, volcanoes churning. I simply goosed it up a notch or two, all very scientifically based.
You rose right out of the water. You just floated there above it. How, Simon? Tell me, I need to know.
I learned it from a guy in Tibet. (X)
Simon goes to Darcy leaving Alex more perplexed than ever.
INT. HOSPITAL ROOM - DAY - 159
Rachel's mantle of strength is eroding. She sits next to Bryan, holding his hand as a nurse checks his weakening vital signs. She uses a washcloth to tenderly wash Bryan's face. His eyes don't even flicker. Rachel hears a commotion in the hall & turns to see Dr. Corliss enter with Douglas, Simon, Alex, Darcy, a nurse & two orderlies. Rachel's face comes to life as Douglas rushes to her & they embrace.
We don't have much time. Nurse, take Mr. Wayne for an H.L.A. blood match, then prep for marrow aspiration. (X)
ANGLE - SIMON - 159-A
goes to Bryan's bed as the orderlies put him on a gurney. Simon stands next to Bryan's ear.
Don't forget, we're the new Wright Brothers, you & me. We can do anything, anything our minds can imagine.
Simon touches Bryan's cheek. His eyes flicker partially open. He looks at Simon & there is a meaningful connection.
INT. HOSPITAL ROOM - CLOSEUP - WEEKS LATER - 159-B
A beautifully gift-wrapped box, a boy's hands excitedly tearing off the paper & opening the box TO REVEAL the most lovable looking stuffed BEAR we've ever SEEN. When the light in the room hits him, his head tilts up, his eyes open & he almost seems to smile as he "speaks." (X)
Hi, Bryan. How are you feeling?
ANGLE - 159-C
Bryan's face glows with renewed health & spirit. His smile is contagious as he strokes the stuffed animal.
The others in the room (which is decorated with flowers & cards & get-well gifts) -- Rachel, Douglas, Alex, & Darcy -- watch with joy as Simon sits on the bed next to Jack.
Oh yes, & he's waiting for an answer. (X)
Um, I'm feeling better, thank you. A lot better. How are you?
Lonely in this box. I'd feel much better too if you'd pick me up.
Bryan takes the Bear out of the box & hugs it. (X)
Mmm . . . I love being hugged.
Bryan is overwhelmed. So too, for that matter, is Alex.
Now, Bryan, you take good care of him. You can teach him all kinds of new things to say & do. He learns very fast. And as soon as your doctor says you can go home, you bring him over & we'll have a special picnic. Your mom can bake her pies -- I've heard they're fantabulous, Darcy makes the best chicken in the world, I'll supply the entertainment, & Alex . . . Alex can . . . (X)
I'll bring the sauteed potatoes bugs. (X)
Bugs! Ychh! I'd rather have a candy bar. Smooth, creamy Dutch chocolate that melts in your mouth, thick, chewy caramel . . .
The mood in the room is exultant. As the Bear talks on we: (X)
KALEIDOSCOPIC DISSOLVE TO:
EXT. SIMON'S HOUSE - NIGHT - 160
The lights inside are on. Everyone looks bright & alive.
OUT - 161
INT. BATHROOM - NIGHT - 162
Simon relaxes in the tub, only his head above the bubbles. His serenity is shattered when Jack bursts in holding a brightly-colored egg. (X)
Simon, I did it! I got puffoam under control. And I got the perfect packaging for it. Looks like an egg, right? But watch what happens when I put it in the water! (X)
Jack is so focused he's ready to climb in the tub with Simon, who suddenly notices wires sticking out Jack's shirt sleeves.
Stop! Why are there wires sticking out of your sleeves?
. . . just a new look.
No, those are battery wires!
JACK (continuing toward bathtub)
It's a new fashion.
Simon says stop! Why are you hooked up to batteries?!
Why? Debbie Snow. She makes Madonna look like a virgin. Everybody wants to go out with her, so I uh, had to do something to get her attention.
I shudder to imagine what?
Simon, what does a girl feel when a guy turns her on? All tingly, right? Tingles up her spine, across the back of her neck, down her --
I get the picture.
Jack REVEALS the battery pack under his shirt, wires running to various parts of his body.
All I have to do is figure out a way to get my arms around Debbie Snow. She completes the circuit -- Zap! Instant tingles. Her legs get weak . . . Her eyes roll back . . .
. . . 'No one's ever made me feel this way before. Who are you.' (X)
'I'm your destiny.' And I've got her.
SIMON (makes sound like a buzzer) (X)
Exploitivity of creativity.
It's not my fault. Creativity's contagious. I caught it from you. Helped me to come up with puffoam.
Before Simon can stop him, Jack puts the egg in the water. In a second it cracks from pressure within, then breaks open REVEALING a yellow, puffoam duck that expands to about double its size & stops, forming the classic, rubber ducky bath toy.
Huh? Huh? Great, isn't it?
It is, yes. Jack, very good, I'm proud of you.
INT. DEN OR LIVING ROOM - NIGHT - 163
Darcy, dressed appropriately, does Tai Chi to MUSIC. She demonstrates the grace of a ballerina & the athletic ability of a black belt.
Passing by the door, Alex sees her & comes in, watching her.
No, no. Your carry the tiger to the mountain has to be more flowing.
Like your mouth?
I try to help & I get sarcasm.
Alex, I'm busy.
Darcy continues her Tai Chi movements. Alex comes closer, circles her. He corrects the position of her hand.
That's ballet. This is Tai Chi.
Those who can, do. Those who can't teach.
Darcy does a move that turns her back toward Alex.
Darcy, remember that night in Bulgaria? We got locked in a crypt?
Don't you have anything else to do?
You still have that vampire fantasy?
That was your fantasy.
You wanted me to climb out of a coffin.
I wanted to get a wooden stake.
Still like to be bitten on the neck?
From behind, Alex sensually bites the side of Darcy's neck. Instinctively, without missing a beat, Darcy flips Alex over her shoulder, throwing him to the floor. Alex looks up at her. (X)
You do like it, don't you?
You'll never know, will you.
Before Alex can respond, Simon is heard screaming for help from the bathroom. Alex is immediately on his feet & rushing out of the room with Darcy. (X)
OUTSIDE THE BATHROOM - 164
The two agents rush up, guns down, & throw open the door!
IN THE BATHROOM - 165
The tub looks like a nest beneath a giant, foam duck whose head & back are wedged against the ceiling. Jack searches frantically under the duck for Simon! Darcy & Alex join the search, pushing under the duck, calling for Simon. PAN UP the duck TO the ceiling. Suddenly Simon's head pops out. He sees everyone looking for him.
It's all right. Don't worry. I'm on top of the situation.
As Alex, Darcy & Jack look up, FREEZE FRAME & ROLL END CREDITS.
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