LOGLINE: Adventure/Horror.

Two grad students hatch a scheme to do "research" in the Amazon as a foil for their real plan to dig for gold. They soon find themselves deep in the jungle and at odds with a band of cutthroat mercenaries, violent tribesmen and something else that lurks in the lush shadows all around them ... 

 

FADE IN:

 

EXT. A RIVER - DAY

 

A SUBTITLE READS: BRANCO RIVER, BRAZIL.  THE AMAZON.

 

CAMERA MOVES high above the banks of the Branco's slowly churning waters.  A green mat of jungle fans out on both sides of the river as far as the eye can see.

 

The riverbanks are crawling with men digging with shovels and pick-axes.

 

Others are squatting in the water up to their ankles, panning for gold.  We can hear the scraping of metal on dirt and stone.  A red sun sits just above the jungle canopy and dusk is falling, 

 

CAMERA MOVES along the river and in for MEDIUM SHOT of two Americans in their 20s at the water's edge.  They've got a Yamaha gasoline-generator going on shore, and a filtration tank with hoses snaking into the river. 

 

One of the men, MACK, is stripped to the waist and stands in the river up to his ankles. 

 

He's shaking water from his sieve-like pan, scrutinizing sand and pebbles. The fading sun catches the glint of gold.

 

MACK

Gold!  Finally found some fuggin' nuggets!

 

DAVE looks up from a few yards down the river.  He wades over to Mack.

 

DAVE

It's about time.

 

MACK

(excited)

Check it out, man!

 

Mack holds out his hand and we can see tiny gleaming nuggets in his palm.

 

DAVE

They're kinda small. 

 

 

 

MACK

A few more pounds of these, and we're off to Rio.  With the right investment portfolio -- hey!  We're set.

 

DAVE

You can invest yours.  I'm gonna spend, spend, spend.  Gotta do my part for the economy, right?

 

Dave is looking down at the water now, searching the sand.

 

DAVE

Where'd you find that baby?

 

He squats down and starts panning without waiting for an answer.

 

Three other men, dark-skinned Brazilians, about 20 yards down river start calling out to the Americans in Portuguese.  They point at the sky.  All around them, the other miners are quitting for the day and moving away from the river.

 

DAVE

What the hell are they yelling about?

 

MACK

I dunno.  Something about the sun going down.

 

Dave stops panning for a moment, watches the other miners leaving, and then goes back to scooping up dirt and water.

 

MACK

You see those Indians today?  The women had these sharp little sticks --looked like toothpicks -- stuck in their faces.  I mean, right through the skin.  What's that all about?

 

DAVE

Body ornaments.  Meant to make 'em look hot ... Doesn't turn you on?

 

MACK

(shaking his head, laughing)

What a place.

 

He pauses to glance around, and then resumes panning with his back turned to Dave.

 

MACK

This goddamn jungle's getting to me ... Soon as we score, we're outta here.

 

There's a loud SLAPPING SPLASH behind him; then silence.

 

MACK

Right? ... Dave?

 

He turns around and Dave's nowhere in sight.

 

MACK

... Where are you, man?

 

There's an eerie whistling, otherworldly moan.

 

MACK

What the hell?

 

The CAMERA moves up to the jungle canopy.  It's dark and still.  We hear furious SPLASHING; then SCREAMS from Mack.

 

It gets darker as the sun sinks into a pool of scarlet sky and black clouds on the very roof of the jungle.  Then it slips a bit further, and the jungle is pitched into blackness.

 

It's no longer quiet.  There's a swell of animal noises; bird cries, the chattering of monkeys ...

 

EXT. CAMPANILE U.C. BERKELEY - NIGHT

 

A SUBTITLE READS: SIX MONTHS LATER, THE UNIVERSITY OF CALIFORNIA, BERKELEY.

 

CAMERA MOVES, taking in Berkeley campus, through Sather Gate and out into the youthful madness of Telegraph Avenue on a Saturday night.

 

EXT.  TELEGRAPH AVE.

 

CAMERA picks out a tall man walking through the crowds on Telegraph.  His blond hair is pulled back in a ponytail, and he's dressed in the casual, scruffy manner of a harried Berkeley Ph.D candidate, which is what he is.

 

His walk is purposeful and he ignores, or just doesn't see, the admiring glances from women who pass him on the sidewalk.

 

CUT TO:

 

EXT. CORNER OF TELEGRAPH AND DWIGHT WAY

 

A guy in his mid-20s is banging out "Your Cheatin' Heart" on an acoustic guitar and singing on the corner.  His guitar case is next to him, and it's got a few bills in it and some coins.

 

His singing is okay, but has an odd ring to it.  We learn later it's because he's got a heavy New Zealand accent.

 

He finishes the song.  There's some desultory clapping from a couple of people on the street.  A wobbly drunk gives out a rebel yell.

 

The singer, RICK CARSON, starts tuning his guitar for his next number.  The small clot of people that had stopped to listen moves away.

 

RICK

(to their backs)

Thank you!

 

The tall guy with the pony tail, KURT SLOAN, comes up to Rick and greets him like an old buddy.

 

KURT

Hey!  How's it going?

 

RICK

Bleedin' awful, mate.

 

KURT

You sounded all right.  The guitar's in tune and you didn't forget any words.

 

RICK

All I ever wanted to do was cut a record in Nashville.  Now look at me. Nowhere, man.

 

KURT

Ah, c'mon. You're a good musician -- but you're a great geologist.  Anyway, you're singing Hank Williams in that nasally New Zealand accent -- that's a little disturbing. 

 

RICK

That's my sex appeal, mate!

 

KURT

(tongue in cheek)

Wait till you're a full Geology professor. Talk about sex appeal -- that title's an aphrodisiac.

 

They both laugh.

 

KURT

Listen. What's your money situation like?

 

RICK

If you're lookin' for a loan, y'know, you can take half what's in the guitar case.

 

Rick looks down and does a quick count of the money.

 

RICK

That's six dollars and twenty-five cents.

 

KURT

(laughing again)

No, I don't want your money.  I got a proposition for you ...

 

RICK

What's up?

 

Kurt waits for a passerby to walk by.

 

KURT

Want to get rich?

 

He's already lost Rick's attention, though.  Rick is trying to make eye contact with a woman coming up the street.

 

RICK

(distracted)

Uh, no mate,of course not. I rather like being bloody poor ... You have something in mind for me?  Amway salesman? Bank robber? Gravedigger, maybe?

 

KURT

Close. Gold digger ... in the Amazon.

 

Rick doesn't register what Kurt's saying right away -- he's busy ogling the woman as she walks past them.  Then it hits him.

 

RICK

The Amazon? As in the jungle? You gone 'round the bend, mate?

 

KURT

You obviously don't read much, you illiterate Kiwi.  It's in all the papers.  There's a gold rush going on.

 

RICK

(incredulous)

You freakin’ serious?

 

KURT

I am serious, rock-head.  We could find gold, get rich -- and probably do some research while we're at it.

 

RICK

A bloody gold miner in the bloody Amazon? Traipsing about with the snakes and the crocs ... You're a major nutjob, aren't you?

 

Kurt reaches into his backpack and pulls out a small leather pouch with a drawstring.

 

KURT

Give me your hand.

 

Rick puts his hand out and Kurt empties the little bag in his palm. Several gold nuggets the size of marbles roll out.

 

INSERT: THE GOLD NUGGETS

 

KURT

What do you think?

 

Rick examines the nuggets with obvious interest.  He WHISTLES in appreciation.

 

RICK

Almost pure gold ... Where'd you get them?

 

KURT

They're on loan from your own geology department.  Jessup sent them back six months ago.

 

RICK

Professor Abe Jessup?  He disappeared down there.

 

KURT

That's right.

 

RICK

We could disappear, too.

 

KURT

Or get rich and live happily ever after.

 

Rick fingers the gold, a dreamy look on his face.

 

RICK

This whole thing sounds stupid and dangerous, mate -- but that never stopped me before.

 

KURT

Then you're in?

 

RICK

Let's rock.

 

Kurt pulls papers out of his jacket and unfolds a geological survey map to show Rick.

 

KURT

You ever heard of the Branco River? 

 

INSERT: THE MAP

 

The Amazon is a rich green and the winding blue line of the Branco River comes into focus.

 

EXT. BRANCO RIVER FROM THE AIR - DAY

 

Rick and Kurt are crammed into the back of a Cessna with several other miners and their gear. Rick's guitar is next to him. 

 

The plane banks over the jungle, which stretches to the horizon. We can see the river winding below.

 

Rick is air sick, but glances out the window anyway.

 

RICK

The middle of bleedin' nowhere.

 

As Rick watches out the window, a dirt airstrip comes into view. It's not much more than a red-brown gash in the tangle of jungle. The plane goes in for a landing.

 

KURT

(cheerily)

Hang on!

 

RICK

(clutching guitar)

Aw, Jaysus, mate!

 

Kurt just chuckles as the plane goes into a steep descent. 

 

It's a rough landing. Dust clouds envelope the aircraft as it rolls to a stop. The pilot shuts down the engine and the hatch pops open almost immediately.

 

Several miners jump out and then Rick and Kurt. Rick steps aside, doubles over and throws up.

 

He stands, and still unsteady, wipes his mouth with a handkerchief.

 

RICK

This is not a good sign.

 

KURT

All you need's a drink.

 

Kurt looks around at the airplane and then back toward a collection of shanties at the edge of the airstrip.

 

KURT

We're supposed to meet our guide at The Blue Parrot Bar.

 

Kurt starts walking toward the shantytown.

 

EXT. SHANTYTOWN - DAY

 

A jumble of 15 or 20 shacks and shanties is piled up along one side of the clearing that surrounds the airstrip.

 

Directly behind the buildings, the jungle rises up in a lush and ominous tangle of tree trunks, vines and branches.

 

The shacks are slapped together from crates and rusted corrugated steel and covered with mosquito netting.  Some have crudely painted signs out front that advertise in several languages, including Portuguese and English.

 

One sign says "Supplies," another  announces "Eggs and Meat." One simply says "Liquor."

 

A number of men are loitering around the shacks. The more dirty and desperate of them are miners; a mix of adventurers and cutthroats from around the world, tempted to the Amazon by the get-rich-quick promise of gold. 

 

The others are probably merchants and pilots. All of them are armed, some with handguns and knives in their belts, others with rifles over their shoulders.

 

The men are watching Kurt and Rick, appraising them.  They are not friendly stares.

 

Several small planes are parked at the end of the airstrip. Kurt and Rick take it in, struck by the backwardness of the scene.

 

Kurt nervously caresses the pistol he wears in a holster. Rick swings his rifle down off his shoulder and carries it in his hand.

 

RICK

The ends of the freakin’ earth.

 

KURT

Looks like a rough crowd.

 

Kurt stares back as they pass close to some miners who are eying them warily.

 

RICK

(under his breath)

Anybody messes with me, I'll blow their bollocks off.

 

Rick smiles pleasantly and nods at a particularly predatory cutthroat, all the while firmly gripping his AK-47.

 

KURT

(through his teeth)

Take it easy, okay?  You see The Blue Parrot anywhere?

 

Rick nods toward one of the larger buildings.  It has a crudely painted parrot on a sign out front.

 

They walk over and go inside.

 

INT. BLUE PARROT - DAY

 

There are more rough-looking characters inside.  The Blue Parrot is basically one big smoky, crowded room with a crude bar and several tables where men sit drinking and gambling.

 

It's a lot like a saloon in a frontier town in the Old West, except the cowboys are wearing semiautomatic handguns and carrying AK-47s instead of Colt Peacemakers and Winchester rifles.

 

Kurt and Rick go straight to the bar, where they find a couple of stools.

 

RICK

I feel like I'm in Tombstone and the Earp brothers are about to bust in and shoot the place up.

 

Kurt surveys the joint and steps up to the bar.

 

KURT

Could happen, Doc ... Bartender!

 

Kurt orders two beers.  The BARTENDER brings them over and sets them down.

 

BARTENDER

(in English)

Fifteen American dollars, please.

 

RICK

(taken aback by the price)

Yikes.  Forget the gold, mate; let's open a bar.

 

Kurt peels a $20 bill off and drops it on the counter.  A heavyset man in a loud, sweat-stained silk shirt steps up to the bar.

 

His shirt is open to his sternum, and a gold nugget the size of a half-dollar dangles on a chain around his neck.

 

He's wearing two guns in his belt, and he's obviously trying to look tough. 

 

This is RINALDO, the mining company rep. He doesn't know they are scientists, just that they want to dig for gold.

 

RINALDO

You two are Kurt and Rick, the Americans from California who want to dig for gold and get rich? Am I right?

 

RICK

Who's asking, mate?

 

Rinaldo reaches out to shake hands.  There is an annoying, somewhat pompous formality about him.

 

RINALDO

Let me introduce myself.  I am Rinaldo Garcia of the Westex Corporation.

 

Rinaldo shakes hands, first with Kurt then with Rick.

 

RINALDO

Please, can I see your papers?

 

Kurt pulls a copy of their contract out, and hands it to Rinaldo. He skims through it.

 

RINALDO

Good, Good.  Everything is in order.

 

He hands the papers back and calls to the bartender.

 

RINALDO

More drinks for my friends, and for me.

 

The drinks arrive quickly and the barkeep doesn't bother to ask for money. Kurt and Rick thank Rinaldo.

 

RINALDO

The least I can do, my friends.  Let's drink to your luck.

 

They raise their glasses together.

 

KURT

It's my understanding we can dig anywhere along the river?

 

RINALDO

Yes.  But you will need mules or horses to get there, my friends. I can find them cheap.

 

RICK

Say what? They're not included in the deal? Why do I get the feeling everybody down here's making money except the guys digging for gold?

 

Rinaldo fingers the nugget around his neck, and then gives them his smarmy smile.

 

RINALDO

Make no mistake, there is gold. You just have to be brave and hard-working.  I, alas, am only brave ... So, I earn my money another way.

 

KURT

All right, all right.  We're gonna need pack-animals.

 

Kurt pulls a map out of his pocket, lays it on the counter and smooths it out. Tracing it with his finger, he points to an area about 12 miles upriver.

 

KURT

We want to go here.

 

RICK

I've looked at the maps for that area. We've got some pretty good satellite pictures, too. It's promising.

 

RINALDO

Nobody goes up that far, senor.

 

Rinaldo reaches for the map.

 

RINALDO

Let me show you a better place.

 

KURT

(pulling the map back)

What do you mean no one goes up that far?  This is where we're going.

 

RINALDO

That is a very treacherous part of the jungle.

 

KURT

Why's that?

 

RINALDO

(quiet for a few moments)

A jaguar, senor. It is apparently attacking the men.

 

RICK

A jaguar? A bloody man-eating cat?  Nobody said anything about goddamned jaguars -- unless it was driving 'em after we got rich.

 

He turns to Kurt.

 

KURT

Take it easy.  Stories like this are usually bullhonk.

 

Rick turns to Rinaldo.

 

RICK

You guys -- I mean the company -- hasn't hired anybody to hunt down the cat?

 

RINALDO

Ah, but we have! The company just this week sent some experienced hunters into the jungle.

 

RICK

So what's the hold up?

 

RINALDO

It is a very clever animal.

 

Rick, who is agitated by all the talk about the cat, interrupts.

 

RICK

How many men has it killed so far?

 

RINALDO

A few.

 

RICK

C'mon.  How many?

 

RINALDO

We don't know, exactly.  It doesn't always leave the bodies behind.

 

RICK

(appalled)

Kurt, I think I want to go back to Berkeley now.

 

KURT

(to Rinaldo)

Seems like odd behavior for a jaguar. It's not a huge cat; doesn't weigh more than 200 pounds, if I remember right. And they usually don't attack humans.

 

RICK

Tell that to the cat when you feel its breath on your neck. Only 200 pounds! That's a monster!

 

Kurt's about to say more, when an argument that's been going on for a minute or so at one of the gambling tables explodes. The table is turned over and chairs go flying.

 

Four of the garimpeiros, or miners, are throwing punches and kicks at each other. One of them goes crashing into Rick at the bar.

 

His guitar, which was leaning against a stool, gets knocked over.

 

RICK

Hey watch it there, friend!

 

Rick pushes the miner away.

 

The miner turns on Rick and belts him in the face.  Rick goes down and Kurt jumps in.

 

Now the four men who'd been fighting between themselves turn their energies on Rick and Kurt, who are a lot bigger than the garimpeiros. But they're not as tough and they are outnumbered.

 

Rick is knocked cold and Kurt is grabbed from behind by two of the miners while a third starts to work him over.

 

It's looking bad, when suddenly a garampeiro throwing punches is blindsided and sent hurtling to the floor.

 

Someone has come to Kurt's rescue, throwing hard, expert punches and a couple of karate kicks. Kurt's able to break free, and lands a KO punch on one of his attacker.

 

Kurt's RESCUER, who is about the same size as the garimpeiros, is single-handedly beating the hell out of them. By the time Kurt goes to help, they're dragging themselves out of the action.

 

The fights over as quickly as it began.

 

Kurt looks over at their RESCUER, who's back is to them.

 

KURT

Thanks a lot, buddy.

 

The Rescuer turns to face him, and Kurt realizes it's a woman with short-cropped hair. She's quite attractive, and he's stunned. 

 

This is ILANA SANCHEZ.  She's a young NYPD detective -- maybe 27 years old -- who's come to the Amazon to look for her missing brother, Mack, who disappeared in the first scene.

 

Besides being knock-dead gorgeous and good with her fists, she's an expert shot.  She exudes toughness, confidence and intelligence, along with a slightly cynical attitude that comes from being a New York cop.  

 

KURT

I uhhh ... didn't realize.

 

ILANA

Didn't realize?  That I'm a woman? You don't mind?

 

KURT

No, no, of course not.  It's just that, uhhh ... (he smiles) ... you pack quite a wallop.

 

Ilana gives Kurt a quizzical look, and then offers her hand to shake.

 

ILANA

Ilana Sanchez.

 

KURT

(shaking her hand)

Kurt Sloan.  Nice to meet you.

 

ILANA

What are you guys doing here?  You look a little out of place.

 

KURT

Yeah, I guess we do.  But so do you.

 

Ilana laughs and then cuts it short.

 

ILANA

Really, though, this is a dangerous       place for tourists.  Saw a couple killed for their video equipment a few weeks back.

 

KURT

We're not tourists.  We're scientists.  That's my colleague on the floor over there, Rick Carson.

 

Kurt nods, smiling at Rick, who is picking himself up off the floor.

 

RICK

Unnnh.  What the hell was that all about?  My head is killing me.

 

Rick then looks around in a panic.

 

RICK

Hey!  Where's my guitar?

 

ILANA

It's behind the bar.

 

The bartender produces it from behind the counter.

 

RICK

(to the bartender)

Great.  Thanks.

 

ILANA

No need to thank him.  He was planning to sell it when you were killed.

 

Rick gives the bartender a hard look.  The bartender just shrugs and smiles.

 

RICK

(to Kurt)

You going to introduce me?

 

KURT

Sure thing.  Ilana, I'd like you to meet Rick, the guy who was napping on the floor when you came in.  Rick, meet Ilana.  She's the calvary that saved our sorry butts.

 

RICK

Your butt, you mean.  I was just getting ready to kick some major arse.

 

KURT

Yeah, whatever.

 

ILANA

So you're scientists.  What are you studying?

 

KURT

A species of poison arrow frog.

 

Ilana thinks this is pretty funny.

 

ILANA

You came all the way down here to study frogs? ... And you're not looking for gold?

 

KURT

Well ... Can I buy you a drink?

 

ILANA

Sure.  Bourbon and soda.

 

Kurt orders the drink and one for himself.

 

KURT

(sipping his bourbon)

Yeah, we know about the gold.  We      figured as long as we're down here we'd do a little digging.  But our research comes first.

 

ILANA

At least until you strike gold.

 

KURT

We're here to do research.

 

ILANA

Then maybe you should give up your dream of looking for gold, because if you find just one nugget, I promise, you won't think of anything else.

 

She digs into her jacket pocket, and pulls out a nugget the size of a half dollar.

 

RICK

Let me see that.

 

Rick examines the nugget, and pulls the one Kurt had showed him back in Berkeley out of his pocket.  He compares them.

 

RICK

Amazing.  Almost pure gold.

 

ILANA

Beautiful isn't it?

 

She takes the nugget back and slips it into her pocket, revealing a pistol on her waist.

 

ILANA

I know where there's more like this ... Why don't we team up?  I've learned my way around the river in the six weeks I've been here, and I might be handy if you get in another scrape with the miners.

 

RICK

She's got a point there, mate.

 

KURT

(to Ilana)

We don't even know who you are.

 

She takes something shiny out of her jacket and tosses it on the bar.  Kurt picks it up; it's a police badge.  Both men are impressed.

 

RICK

Wow.  She's a cop, man.

 

ILANA

I'm a detective with the NYPD.  I took a leave of absence to look for my brother.  He disappeared down here a few months ago.  I don't know if he died of disease, or had an accident or was murdered -- or if he's still alive out there somewhere.

 

She takes another drink.

 

ILANA

A week before he vanished, I received a package from him.  It contained the nugget I showed you, and a map.  So I know exactly where he was prospecting ... where he struck gold.

 

Kurt and Rick consider this.  Rick, who is ready to welcome her along, turns to Kurt.

 

RICK

(to Kurt)

She seems all right to me, mate.  Why don't we join up with her?

 

KURT

(circumspect, to Ilana)

I don't get it.  How can we help you?

 

ILANA

Simple.  There's safety in numbers around here -- and I think I can trust you two.

 

KURT

(sizes her up)

If we agree, what's the next step?

 

ILANA

We get your gear and head up river. Could probably make camp by evening, if we leave soon enough.

 

RICK

She works fast!

 

Rinaldo reappears, looking sheepish.  He'd vanished as soon as the fight started.

 

RICK

Where'd you go when all the waltzing started?

 

RINALDO

I went for help.  But the trouble was all over by the time I got back with my men.

 

He points to three or four goons hanging back near the door.

 

RINALDO

But I must say, you handled yourselves admirably.

 

KURT

We had help.

 

He nods toward Ilana.

 

RINALDO

(bowing slightly)

Yes, I know Senorita Ilana.  A she-devil with her fists and cowboy boots, no?

 

ILANA

You're too kind.

 

KURT

(impatiently, to Rinaldo)

What do you say we get going?  I'd like to get our camp set up by nightfall.

 

Rick slaps Rinaldo on the back.

 

RICK

Yeah, let's go find some gold, you wanker ... oops ...

 

He winks at Ilana.

 

RICK

And, uh, let's not forget the research.

 

INT. MED SHOT CORPORATE BOARD ROOM--NIGHT

 

A group of Westex Mining Corp. executives sit around a conference table.  The corporate logo and company name are emblazoned on one wall of the room above a huge video monitor.

 

Windows behind the table look out on a view of Los Angeles at night.  Some of the execs are sitting around in their shirt sleeves, ties undone.  It's been a long day and they're working late.

 

CU: RON CULP, BOARD CHAIRMAN

 

CULP

(at head of the table)

Goddamit, we can't let a bunch of ignorant savages dictate what this company is going to do or not do. We've got to get production back up where it belongs.  If that means whipping the Indians into shape, using a little force, then do it.

 

JOHNSON

We've already hired some consultants ... skilled mercenaries, actually.

 

Everyone laughs at this.

 

JOHNSON nods to the video monitor, where SAMUELS, the chief mercenary, is on the air.

 

BECKWORTH, a sandy-haired young man who manages the Amazon headquarters is sitting behind Samuels on the screen.

 

Samuels is a big, sinister guy in jungle fatigues.  Beckworth is wearing a suit.  Samuels nods back from the screen, unsmiling.

 

JOHNSON

Mr. Samuels is coordinating our efforts from our jungle headquarters, He'll take care of our Indian problem.  He has experience at this kind of  security work, having been been active in Africa and in Central America.

 

CULP

Good.

 

BECKWORTH

(from the screen, Okie accent)

These guys are doing a great job, chief.  Really helping to get things under control.

 

CULP

(under his breath to Johnson)

I want that idiot terminated.  Get me someone else down there.

 

Culp looks at the screen and nods to Samuels.

 

CULP

Samuels.  Tell me more about the Indians.  What's the hangup?

 

SAMUELS

The natives, the Yanomami, clearly don't like the miners and they've killed more than a few of them.  Some have turned up on the banks of the river looking pretty ugly.  Missing limbs, decapitations, mutilations.  There are rumors of a big cat, but we've yet to find it.  I think it's all the Indians' work. 

 

Johnson turns to Culp.

 

JOHNSON

They kill one of our miners, we                        take out two, three Indians.  Right, Samuels?

 

BECKWORTH

(trying to assert himself, he cuts in)

That's the way it works.

 

On screen, Samuels looks angry that Beckworth answered for him.

 

SAMUELS

That's right, sir.

 

CULP

(facing the screen again)

Sounds fair to me ... I want to hear from you boys every day.  If there are any setbacks, I want to be notified immediately.

 

Culp gets up from his desk.

 

CULP

That'll be all, gentlemen.

 

The video screen goes blank.

 

EXT. YANOMAMI VILLAGE - DAY

 

It's early evening and some Yanomami women are busy preparing for a meal.  Some of the children are playing nearby and others are helping their mothers with the food, which is mostly fish from the river and fruit from the jungle trees.

 

In the Yanomami dialect, a woman chastizes a young boy who has just snatched some of the fruit and is laughing as he stuffs it in his mouth.

 

In the distance a faint THROBBING sound invades the jungle tranquility.  The THROBBING grows and a helicopter flies into view. 

 

The chopper buzzes the village a few times, scattering the terrified women and children.

 

It comes close enough to stir up clouds of dust with its rotors and blow pieces of thatch off the huts.

 

Four of Samuels' thugs sit in the chopper, guns across their laps, laughing and drinking.  The chopper makes a few more passes over the village and then flies away.

 

EXT. JUNGLE TREETOPS

 

P.O.V. OF SOMETHING WATCHING FROM HIGH IN THE SHADOWY JUNGLE BRANCHES AS THE HELICOPTER FLIES AWAY.

 

An eerie whistling, MOAN replaces the THROB of the helicopter rotor as the aircraft flies away.

 

EXT. A JUNGLE TRAIL - DAY

 

CAMERA follows Rick, Kurt, Ilana and Rinaldo as they trudge along a jungle trail with three horses stacked with gear and equipment, including Rick's guitar.

 

Rick smacks an insect on his arm.

 

RICK

I've never seen so many buzzing, flying, dive-bombing little buggers. I've been bitten, drilled and drained by at least six previously unknown species of bloodsucking bug.  You recognize this one, Mr. biologist?

 

He turns to Kurt to show him the blood smear on his arm.

 

KURT

(smiling)

Yeah, that one injects a venom that makes your balls shrivel up so your scrotum rattles like a maraca when you walk.

 

RICK

(makes face)

Ouch!  Don't like that image much, mate.

 

The group rounds a bend in the trail and a huge, round, thatched building looms up.  Voices are heard and suddenly three dark-skinned near-naked women scurry through an entrance into the building.

 

RICK

Whoa ... Are the natives friendly?

 

RINALDO

Oh yes.  They are a very friendly folk.  Give them a T-shirt or a Swiss Army knife, and you've made a friend for life ... But there is no need to stop.  Just wave as we go by.  They are like children, really.

 

A group of Indian men come out of the communal building and stand with machetes and bows and arrows glumly staring at the miners.

 

Rinaldo's hand creeps nervously toward the semiautomatic handgun in his belt.  Kurt notices the movement.

 

RICK

They don't exactly seem overjoyed to       see us.

 

RINALDO

Oh, no, they love the miners.  We've helped raise their whole standard of       living.

 

KURT

Sure you have ... Hasn't there been some bad blood between the Indians and miners?  I seem to remember reading about a massacre or two, some atrocities here and there.  Sound familiar?

 

RINALDO

All exaggerations!  Oh, there have been some ... disagreements, it is true.  And when the Indians drink they sometimes get violent, as do the miners.  But it passes.

 

Just then a more Westernized Indian in Bermuda shorts and Led Zeppelin T-shirt comes out of the building.  He is small, graceful and dark, and wears his jet-black hair in the traditional bowl-cut of the Yanomami.  He waves to Rinaldo and calls his name.  Rinaldo seems relieved.

 

RINALDO

Here, see.  I know this Indian.  We call him Jose.  He is very smart; he speaks English and Portuguese.

 

Smiling, Rinaldo waves and Jose waves back, indicating that he wants them to come over to the building.

 

KURT

Seems like he wants to talk to us.

 

RICK

Let's go have a chat with the bloke. Maybe he wants us to listen to "Stairway to Heaven" on some headphones.

 

The others laugh, but Rinaldo looks bewildered and not a little afraid.  He's nervous and is in a hurry to get away from there.

 

But the others start for the maloca, the huge round building of dried mud and thatch.  Rinaldo hangs back.

 

RINALDO

But sirs, we need to set up camp soon!

 

KURT

Oh, c'mon Rinaldo.  Lighten up.  Let's see what he wants.

 

Kurt walks up to Jose and introduces himself.

 

KURT

Hi.  I'm Kurt Sloan.  Nice to meet you.

 

Kurt extends his hand to shake.  Jose ignores him and motions to Rinaldo again.  Rinaldo finally walks over.

 

RINALDO

What is it, Jose?  My friends need       to get to their camp.  They are some very distinguished scientists from the states.

 

Jose does seem impressed by this, and after a moment he speaks to Kurt in a strange, croaking voice.

 

JOSE

Scientists.  Then maybe you would like to see something we found in the jungle.

 

KURT

Sure.

 

RICK

(suddenly spooked)

I don't know about this ... I'm getting a bad vibe.  Maybe we should keep moving.

 

RINALDO

I agree with Mr. Rick.  He's a smart man.  Every minute we spend here is a minute that won't be spent on your mission.

 

Rinaldo mops his brow with a handkerchief.  He's sweating and obviously wants to get moving.  Rick also is uneasy now.

 

ILANA

(impatient)

Oh, for God's sakes, let's go inside       and see what the man wants to show us.  Then we'll get going.

 

Ilana pushes past Jose and goes inside the maloca.  The rest of them follow, with Rick the last one in, muttering.

 

RICK

(just before entering)

Shite.

 

INT. THE MALOCA

 

It's dimly lit, and the crew of Americans is momentarily unable to see inside the vast communal building.  They squint at many dark shapes moving about inside.

 

When their eyes finally adust, they see that 50 or 60 members of the tribe live in the building.  Some are huddled and talking, others watch them from a squatting position.  Most of them are nearly naked except for loincloths.

 

Some of them lie reclining in hammocks; a woman is breast feeding her infant.  Many of the young women, however, ran out the rear entrance as the crew came in.

 

The only light comes from a circular hole about two feet in diameter at the peak of the round building's roof. 

 

A sharply defined shaft of light, given solidity by swirling dust, stands in the middle of the large, dark room like a shimmering column.

 

The crew stands staring about at the strangeness of their surroundings.  Jose is motioning them toward the light.

 

JOSE

This way.

 

KURT

What's he pointing at?

 

ILANA

Something in the light.

 

RINALDO

(hesitant, uneasy)

Senors, senorita, we are just wasting our time.

 

RICK

(indicating Jose)

He's pointing at that thing on the floor, in the light ... it looks like an old bone.  Oh, for Crissakes.

 

Rick instinctively reaches for the gun in his belt, but finds himself suddenly surrounded by muscular Yanomami men holding drawn bows, the arrows pointed at him.  Rick throws up his hands.

 

RICK

Hey, I'm cool!  I'm cool!

 

RINALDO

(mopping his brow)

Please, Mr. Rick.  No sudden moves

 

Rinaldo turns to Jose.

 

RINALDO

Jose, please explain to your colleagues that we are all friends, that Mr. Rick here was just startled.

 

RICK

Yeah, yeah.  Explain to these guys      that I'm a friend.

 

Jose pauses a moment, then smiles and utters something in the Yanomami tongue.  The Indians lower their arrows, but their bowstrings remain taut.

 

KURT

(to Rick)

Take it easy, cowboy.  Those are poison-tipped arrows, dipped in the glandular secretions of the very froggy I'm here to study.  A prick from one of 'em, and you're dead before you hit the dirt.

 

RICK

(paler than usual)

Yeah, yeah.  I'm taking it easy.

 

Their attention is back on the pillar of light, and Ilana let's out a gasp.

 

ILANA

What is that thing?

 

CU: THE CLAW

 

They all stare it.  It appears to be a bone, or a mummified forearm and bony claw.  The claw is huge, bigger than a man's head, and it fans out into long fingers which end in vicious, curving talons.

 

Kurt goes down on one knee for a closer look.

 

KURT

Looks like some kind of fossil.

 

Kurt reaches for the bone, but the Yanomami bowmen make it clear they don't want him to touch it.

 

KURT

It's reptilian, I think ... I've never seen anything like it.  Must be some dead-end species.

 

Kurt looks up at Jose.

 

KURT

Where'd you find it?

 

JOSE

Near the river ... Not far.

 

RICK

You sure it's a fossil?  I'd hate to     meet the rest of that thing in the       jungle.

 

KURT

They won't let me examine it too        closely, but from here it looks like a fossil.  There's no record of any animal like it I've ever seen.

 

Kurt reaches over to touch it again, but again the bowmen move in.

 

JOSE

It is shadow.  They live in the night and are like the darkness itself.  No one ever sees them.

 

KURT

Can I take a picture of it?  You know, a photograph?

 

JOSE

You can do anything but touch.

 

KURT

Rick, give me that camera.

 

Rick hands him the camera and Kurt takes pictures.

 

KURT

(to Jose)

Are there are any more of these bones around?

 

RICK

Oh man, you're turning into a     biologist again.  We're here to find  gold, remember?

 

Kurt looks at Rick with genuine surprise.

 

KURT

You're a scientist.  You know how important this is.

 

Kurt goes closer to the claw.

 

RICK

(resigned)

Yeah, I know.  But damn -- that thing gives me the creeps.

 

CAMERA lingers on the claw.

 

EXT. JUNGLE - DAY

 

It's a half-hour later.  The CAMERA follows the entourage, which now includes Jose, as it moves through the jungle. 

 

Rick drops back from the front of the group to talk to Jose.

 

Rinaldo is nearby and listens, too.  It's hot and humid and everyone is sweating and showing the effects of the tropical heat.

 

RICK

Hey, mate, what do you know about this man-eating jaguar?  Must be a hell of a big cat to have killed so many men?

 

Jose ignores him.  Rick is flustered and obviously agitated by the Indian's silence.

 

RICK

Now c'mon, friend, don't be a wanker. I'm just trying to make some friendly conversation here. If there's a big cat out there, I want to be ready for it ...

 

JOSE

No jaguar.

 

RICK

Whattya you mean? You saying there's no cat?

 

JOSE

No cat.

 

Rinaldo, who has been listening, interrupts.

 

RINALDO

These Yanomami are full of        superstitions.  You cannot believe        everything they tell you, Mr. Rick.

 

Jose looks askance at Rinaldo.  He understands what Rinaldo is saying, but he remains quiet.

 

RICK

Wait a minute.  What superstitions?  I just want to know about the jaguar.

 

RINALDO

We are well-armed against the jaguar.  My men are also out there, watching        for him.  I am sorry if my talk about        this animal has upset you.

 

Jose shakes his head.

 

JOSE

(emphatically)

No jaguar.  Shadow.

 

RICK

What?  Isn't that what the Indians        called that claw-thing we saw back in the village, that fossil?

 

RINALDO

All superstitions.  Do not pay any        attention to him.

 

RICK

Yeah, sure, I should listen to you ... Hey Kurt!

 

A few paces in front of them, Kurt and Ilana turn around.

 

KURT

What's the matter now?

 

RICK

The Indian says there's no jaguar,        that it's something else.

 

KURT

What are you talking about?  The heat melting your brain?

 

Rick turns to Jose.

 

RICK

Tell him.

 

JOSE

No jaguar.

 

RINALDO

I'm telling you, senor, you cannot        listen to everything these Indians       say.  They see mystical beasts      everywhere.

 

Kurt considers Rinaldo for a moment and then turns to Jose.

 

KURT

What are you saying Jose?

 

JOSE

It is a shadow.  The gods have sent it to punish the miners.  My people know of these things.

 

ILANA

Geez.  He's serious about this.

 

Jose turns his intense eyes on Ilana.

 

JOSE

Shadows live in the trees, in the air, on the earth and in the water.  They are everywhere and nowhere ...  Even your bullets are not fast enough to catch a shadow.

 

ILANA

Jesus.

 

RICK

Oh, man, Kurt.  I hate this primitive voodoo crap.

 

KURT

Have you ever seen one of these shadows, Jose?

 

Jose is quiet a moment.

 

KURT

Well, have you?

 

JOSE

No ... You cannot see one and live.

 

Kurt considers this and turns back to Rick and Ilana.

 

KURT

That's convenient ... So we have a religious manifestation, a god or demon; an invisible entity no one ever actually sees.  Sound       familiar?  Can you think of a        religion that doesn't have one?  Satan and his fallen angels ... the griffin and the Sphinx ... These things are as old as fear.

 

RICK

What about the claw?  That was       definitely not imaginary.

 

KURT

It was a fossil.  A fossil!  Whatever it belonged to has been dead for millions of years.  You're the geologist; it was turned to stone.

 

RICK

I didn't get that close to it.  I'm       not sure it was mineralized.

 

KURT

Look, if it's such a frightening thing, what's Jose doing here?  You think he'd hang around if he really believed he was going to encounter this thing?

 

Jose has been listening, and now he speaks again.

 

JOSE

It does not want me -- it wants miners ...maybe you.

 

KURT

So it knows the difference between        Indians and white men, is that it?

 

JOSE

It knows its enemies.

 

KURT

This is ridiculous.  It's        nothing but superstition.

 

Ilana laughs at Rick's stricken appearance and Kurt joins in.  Rick lightens up and laughs, nervously, himself. 

 

Rinaldo, who had not taken part in the conversation, but had gone ahead, YELLS back to them from up the trail.

 

At first, everyone jumps, thinking something happened to him (everyone really is jittery, despite the laughter).

 

RINALDO

Come and see!

 

They all hurry up the trail to Rinaldo.

 

EXT. JUNGLE OPENING

 

The group is on a low ridge overlooking the river, which is surrounded by thick jungle, except on the opposite bank, where a huge open pit the size of football stadium is teeming with mud-colored men digging with shovels and pick-axes.

 

We can HEAR the distant clink of metal on stone as well as the shriek and hum of numerous generators and mechanical sluices.  It's an awesome but hellish sight.

 

A group of factory buildings sit on the lip of the crater.  The buildings are surrounded by razor wire and guards with rifles patrol the grounds. 

 

This is the Westex Mining Corp.'s frontier headquarters,  where they process all the gold brought in by the miners.

 

The miners themselves live in numerous tents outside the compound.  A small air-strip for the the private use of Westex officials and executives, and for flying gold out, is nearby.

 

Rinaldo stands and sweeps in the scene with his arm, smiling broadly.

 

RINALDO

Eldorado, my friends.  The City of        Gold!

 

Kurt steps forward and shoots the scene with his videocam.

 

RICK

Looks more like The City of Mud to me.

 

P.O.V. THROUGH KURT'S CAMERA.                                                                          

 

Kurt pans with the videocam across the grotesque scene, like something out of a horrific Bruegel painting.

 

EXT. THE HQ COMPOUND

 

It's an hour later.

 

Rick, Kurt, Ilana and Jose wait with the pack-mules inside the razor-wire compound.  Signs reading HIGH VOLTAGE hang from a 15-foot-high electric fence. 

 

Rinaldo has gone inside to talk to the mining site-manager.  Armed guards eye them warily.  The Americans look down into the pit at the toiling miners.

 

RICK

Those poor buggers don't look like        they're having much fun.

 

ILANA

Rinaldo said they make more money in a day here than in months laboring in their village.

 

RICK

You don't believe that twit, do you?  He'll say anything they'll pay him to say.  Do those look like happy little worker-bees down there?

 

A door in the largest concrete-and-stone building on the compound opens, and out steps Rinaldo and Beckworth, the ineffectual manager we saw on the TV monitor earlier. 

 

Beckworth is dressed in a smartly pressed business suit and tie.  Everyone else is in crumpled sweaty khakis and jeans, and the suit looks incredibly incongruous in the middle of the Amazon jungle.

 

BECKWORTH

(in an Oklahoma drawl)

How ya'all doing?  I'm Cameron Beckworth and I'm glad to meet ya. Rinaldo here tells me ya'all are Americans?

 

Rick starts to protest that he's from New Zealand, but Beckworth, who shakes Kurt's hand and then Rick's, is on a roll and he's not about to stop.

 

BECKWORTH

Well, welcome and c'mon inside where we can talk.

 

Beckworth holds the door open, and they go inside.

 

BECKWORTH

I got central air-conditioning.  You'll 'preciate that.  Gets hotter than hell down here and I hate to sweat up a good suit.

 

He laughs like a drunk.

 

Rick catches Ilana's eye, and taps his head to indicate Beckworth is screwy or loaded.  Ilana smiles.

 

They walk down a long oak-paneled corridor.  The walls are affixed with abstract corporate art and there is a beige couch, matching chair and a maple veneer table where a few guards are lounging, rifles at their sides. 

 

Except for the armed guards, it could be a corporate park in Toledo, Ohio, instead of the Amazon jungle.

 

INT. BECKWORTH'S OFFICE

 

It looks like any mid-level executive's office back in the states, except for the large window overlooking the mining pit.

 

Beckworth, obviously proud of his air-conditioned fully furnished office indicates with an exaggeratedly cool flourish that they should all sit in the chairs in front of his desk. They do.

 

He then settles into his leather upholstered swivel chair and pulls a bottle of Jack Daniels and some glasses from a cabinet.

 

BECKWORTH

Let's drink to the good old U.S.A.

 

RICK

Nothin' against the States, but I'm actually a New Zealander, mate.   Love a drink anyway, though.  Thanks.

 

Rick, Ilana and Rinaldo all drink.  Kurt does not.

 

BECKWORTH

Now we got that out of the way, I        know you're here to dig for gold. But Rinaldo tells me you're some kinda scientists, too.

 

KURT

We're studying the effects of u.v. radiation on poison arrow frogs.

 

Beckworth appears puzzled and amused.  He waves his hand.

 

BECKWORTH

Frogs?  I'll be damned.  Why bother with frogs when you can dig for gold and get rich? ... I'll never understand you science types.

 

KURT

We do plan to dig a little for gold on the side.

 

BECKWORTH

(laughing)

On the side?  Like it's mashed potatoes?  Nobody digs for gold "on the side."

 

KURT

Our research is important to us.

 

BECKWORTH

(interrupts)

Only thing important down here is gold ... That and figuring out how to stay alive.

 

RICK

What do you mean by that?  Staying alive, and all?

 

By now, it's clear that Beckworth is drunk.  His glass of bourban is never empty.

 

BECKWORTH

(laughing drunkenly)

You must have heard the stories by now?  I mean, I'm losing two or three men a day.  A day!  I don't know where they're going.  The Indians say it's one thing, the miners something else.  Maybe they're just killing each other.

 

KURT

That's the most likely scenario.

 

RICK

Yeah, and the other is that there's some friggin' prehistoric monster out there attacking people.

 

Beckworth starts laughing again.  He raises his hand as if to say "hold it right there", and takes another drink of bourbon.  Still laughing, he tries to talk, but keeps cracking up.

 

BECKWORTH

Ya'all don't believe that stuff about a monster, do you?  It's just one of these primitive Indian myths that circulate around down here ... A buncha crap.  You got better things to think about: Go out there and find us some gold and make us all rich!

 

Beckworth glances at his watch, shuffles some papers on his desk, and takes another drink.

 

BECKWORTH

Now if you fellas, don't mind, I've      got another group to talk to before they go out in the jungle.  The company likes me to hold these little orientation classes.  Good p.r., I guess, but I'm beginning to feel like a tour guide.  So, anyway, good luck finding gold, and don't let the Bogeyman getcha.  Hah!

 

Beckworth gets up from his desk and shows them to the door, where two armed men are waiting to show them outside the compound. 

 

Ilana is smiling, while poor Rick looks horrified.  Kurt is thoughtful.

 

KURT

(ironic)

Thanks for the pep-talk, Beckworth.

 

BECKWORTH

Anytime!  Come back and talk to me after you guys get settled in.  Let me know how it's going.

 

Beckworth ushers them out and then closes the door.  He returns to his desk and pushes a button.  A door at the rear of the office opens, and in step four men.

 

One of the men is the executive, Samuels, from the earlier WESTEX meeting.  The others are company goons.

 

SAMUELS

Who the hell were they?

 

BECKWORTH

Just some eggheads doing research in the jungle.  Want to do a little digging on the side, for kicks, I guess.  They're harmless.

 

One of the more menacing goons, SCHMIDT (who led the copter raid on the village earlier), comes forward and leans over the desk, pushing his face close to Beckworth's.

 

SCHMIDT

You sure?  We gotta teach those savages a lesson, and we don't want some smart-asses sending video footage to the media.

 

BECKWORTH

That's why I called them in here.  To see what they're up to.  Think I'm an idiot? ... And would you mind getting off my desk?  There's a nice easy chair for your big butt right there.

 

Beckworth motions to a chair in front of his desk.  There's a tense moment when Beckworth and Schmidt stare each other down.

 

SAMUELS

(sarcastic)

Let's settle down there, youngsters.

 

He puts a hand on Schmidt.

 

SAMUELS

Come on Eric, why don't you wait in the other room while I talk to Mr. Beckworth about our new Indian policy.

 

Samuels nods for Schmidt to go.  Schmidt and the other goons all leave the room.

 

SAMUELS

The Indian problem is out of control.     We've talked to you about this before and nothing's changed.  I'm here to fix that.  They kill one miner; we kill two Indians.  Got it?

 

BECKWORTH

That's a little harsh ... If you don't mind my input -- it ain't gonna work.  They fight back, and they know the jungle better than ...

 

Samuels takes a drag on his cigarette and snorts contemptuously.

 

SAMUELS

I don't want your input.  You've already screwed things up enough.

 

BECKWORTH

But we're not sure why so many   miners are dying or disappearing.  I'm hearing stories about something out there, some kind of animal ...

 

SAMUELS

(dismissively)

I don't believe that nonsense.  We've        been looking for a big cat and found nothing. It doesn't exist. The damn Indians are killing the miners.

 

BECKWORTH

I think you're wrong about that. I'm telling you, some kind of animal is out there.  I've seen the bodies ...

 

SAMUELS

You've been down here too long ... You need a break.

 

BECKWORTH

What do you mean?

 

Samuels ignores the question and shakes out a cigarette from a silver case.  He doesn't bother to offer one to Beckworth.

 

Samuels lights the cigarette with a gold-nugget lighter he picks up on the desk.  He admires the lighter before setting it down again.

 

BECKWORTH

Nice.  Found the nugget in the mine?

 

Beckworth nods.

 

SAMUELS

(reflectively)

You've found some others, too,  haven't you?

 

BECKWORTH

(nervous)

I'm sorry?  I don't follow you.

 

SAMUELS

Oh, come on, Beckworth.  We know all about your little raids on the inventory.  Your schemes to send back a few pounds to your girlfriend on every other flight out of here.  A nice little bonus for you, hey?

 

Stunned that Samuels knows anything about the scheme, Beckworth tries to stay cool and act like he's puzzled and even insulted.

 

BECKWORTH

I don't know where you're getting your information, but it's outrageous and erroneous.  I mean I ...

 

Samuels cuts him off.

 

SAMUELS

We got tapes of your girlfriend explaining the whole thing.

 

Beckworth takes a swallow from his bourbon and pours some more into the glass.  He's trying to keep his composure.

 

BECKWORTH

I don't know what she told you, but       she's lying.  She's seeing somebody else now and...

 

SAMUELS

Shut up.

 

BECKWORTH

(desperate)

She's a lying bitch.  It's not true.

 

SAMUELS

(snapping)

You know, I'm tired of arguing with you.

 

Samuels pulls a gun from his pocket and with one swift motion, he shoots Beckworth in the head.  Beckworth slumps over his desk, still holding his glass.

 

EXT. JUNGLE CAMP - DAY

 

Kurt and the others have reached their camp in a jungle clearing on the river.  The sun is sinking fast and Rinaldo is beside himself in his hurry to get back to the HQ compound. 

 

Rick, Ilana and Jose are busy unloading their gear from the mules.  Kurt is already trying to build a fire.

 

RINALDO

Please, if you have no further need of me, I'm going now.

 

Even as he speaks, the sun sinks another notch behind the jungle canopy, and it gets darker.  The jungle seems to come alive with the screams and squawks of animals. 

 

Rinaldo looks around at the jungle and the coming darkness, and he seems extremely upset.  Rick watches him with interest.  It gets even darker.

 

RICK

Seems like you missed your chance if you wanted to travel in daylight.

 

Behind Rinaldo and Rick a fire springs to life and Kurt gives a satisfied grunt.  Ilana and Jose, meanwhile are setting up the tents.  Rinaldo starts to leave.

 

RINALDO

I must go, senors!

 

RICK

What's the hurry, mate?  Don't you like sleeping out here with the snakes and the crocs and that jaguar?

 

He watches Rinaldo start down the trail as darkness falls like a hood over the sky.

 

RICK

(to himself)

That guy does not inspire confidence.

 

Rinaldo comes hurrying back to the fire.  Rick and Kurt laugh at him, but Rick casually flicks the safety off of his AK-47.

 

KURT

We got an extra tent you can stay in.  I was going to keep the equipment in there, but it can wait until tomorrow.

 

The weird, whistling MOANING is heard coming from the jungle, faintly and in the distance.

 

RICK

What was that?

 

KURT

We're in a jungle -- who knows?

 

Rinaldo stands in front of the fire, looking terrified, and holding his pistol in his hand. 

 

Kurt puts a pot of coffee on the fire.

 

KURT

Hey, relax Rinaldo.  Animals are   afraid of fire.  Hang in there and I'll have you a hot cup a joe in a minute.

 

RINALDO

Thank you,  that's kind of you.  I just don't like this jungle at night.  It is no place for a civilized man like myself.

 

Rick laughs.

 

RICK

But it's OK for us gringos, hey?

 

RINALDO

That's not what I meant Mr. Rick.

 

 

RICK

(angry)

I know goddamn well what you meant.  You don't mind putting other people's asses in jeopardy as long as your butt's home by nightfall.

 

Rinaldo doesn't answer, but stares disconsolately into the jungle as if expecting someone.  Kurt hands him a tin cup of coffee.

 

EXT. JUNGLE CAMP - NIGHT

 

It's an hour later, and the campfire is blazing.  Tents are set up fairly close, and Rick, Ilana and Rinaldo sit at a small table near the fire, talking. 

 

Rinaldo and Rick are noticeably ill at ease and Rick is softly strumming his guitar.  A semi-automatic pistol is on the table next to Rick's cup of coffee.

 

Ilana is in a good mood, and seems to be enjoying the adventure.

 

Meanwhile, Kurt and Jose are prowling the edge of the camp, where the firelight fades to inky darkness.  Kurt is hunting for tree frogs and Jose is helping.

 

Rick is singing Gram Parsons' "Streets of Baltimore."

 

RICK

I sold the farm and took my woman where she longed to be ... We left our kin and all our friends back there in Tennessee.

 

He abruptly stops singing.

 

RICK

Man, Tennessee sounds good to me right now.

 

ILANA

You're one confused guy, aren't you?

 

RICK

What do you mean?

 

ILANA

Well, you're a New Zealander from California hanging out in the Amazon jungle -- wishing he was in Tennessee.

 

Rick laughs at this.

 

RICK

Wow, when you put it that way, I guess I am screwed up.

 

ILANA

Aren't you ever tempted to be serious about anything?

 

RICK

I'm serious about finding gold and staying alive out here ... And  I could get serious about you.

 

There is a moment of sexual tension.

 

ILANA

(laughing)

You're too in love with that guitar to be any good for a woman.

 

RICK

Ow, that hurts.

 

Suddenly there's some commotion at the edge of camp and Kurt YELLS.

 

Rick visibly jumps, and Ilana and Rinaldo are startled.  It's a scary moment.

 

KURT

Got one!

 

Kurt, wearing surgical gloves, gently places something in a specimen jar.  He carries it back to the table with Jose at his heel.

 

KURT

Take a look at this.  The Branco River poison arrow frog.  The skin of this baby contains enough toxin to kill us all -- isn't she beautiful?

 

He shows them the frog.

 

RICK

(does a Homer Simpson impression)

Mmmmmm ... tree froggggg.  Yum.

 

Ilana laughs.  Still smiling, Kurt carefully places the jar on the table. 

 

Rinaldo instinctively sits back.

 

ILANA

You have a strange concept of beauty,       but ... yes, it's striking.  Look at    those colors!

 

RICK

(winking at Ilana)

Yeah, he's got a thing for beautiful      and dangerous creatures.

 

Kurt ignores him as he examines the frog; Ilana smiles.

 

KURT

Just look at this.

 

RINALDO

I am sorry, Senor, but I would rather      look at gold.

 

Rinaldo gives Rick a perplexed look, and Rick shrugs back at him like he doesn't understand Kurt either. 

 

Kurt continues with a lecture on the frog.

 

KURT

Frogs and other amphibians are dying out around the planet, and the evidence points to a depleted ozone layer.  It's not screening out as much ultraviolet radiation as it used to, which is pretty scary.

 

RICK

Oh, boy.

 

 

 

 

 

RICK

(getting to his feet)

I've heard this lecture a few times ... Well, guess it's time to hit the hay, lovers. I'll just take my guitar and my cuddly little .45 here, and say good night.

 

ILANA

Don't be offended Kurt, but I'm exhausted and need to get some sleep myself.  I'd love to hear more tomorrow, though.

 

RICK

Sure you would.

 

KURT

That's all right.  It's late, I understand.

 

He turns to Rinaldo.

 

KURT

You're going to have to sleep in the lab tent.  Give me a hand.

 

RINALDO

Don't worry about me, senor.  I am not sleeping tonight.

 

KURT

Well, let's fix you a place in case you change your mind.

 

Kurt and Rinaldo go off toward one of the bigger tents under the branches of a towering tree.  Jose is setting up a string hammock, his tribe's traditional bed, between two trees.

 

ILANA

(sexy, to Kurt)

Good night.

 

Kurt turns around to look at her.  There's definitely electricty between them.

 

KURT

Yeah, good night Ilana ... If you need anything ...

 

Ilana smiles at him and goes in her tent.

 

EXT. JUNGLE CAMP--NIGHT

 

It's several hours later, the fire is burning, though not as fiercely as before.  Jose is asleep in his hammock.

 

His machete leans against the tree, within easy reach.  The jungle is strangely quiet and the only sounds come from the fire ring, where the wood is popping and crackling.

 

INT. CLOSE SHOT RINALDO'S TENT

 

Fully clothed, Rinaldo sleeps on top of blankets on a cot.  A kerosene lamp burns brightly, casting shifting shadows.

 

Rinaldo looks as though he just went in to lie down and rest for a moment, not meaning to sleep.

 

His gun is on a table right next to him.  Boxes of scientific and mining equipment are stacked around the room.

 

The strange whistling MOAN is heard in the distance.  It's heard a again, this time closer.

 

Rinaldo stirs on his cot, but falls back to sleep.

 

CU: THE TENT CEILING:

 

The canvas-like fabric is tightly drawn and the CAMERA lingers for a moment, shadows flickering in the burnt-orange lamplight.

 

Suddenly, there is a soft SCRATCHING sound.  CAMERA pans on ceiling, where a pimple forms in the fabric, as though a sharp stick was poking the tent from the outside.

 

The indentation starts moving, slowly across the ceiling, accompanied by a sibilant SCRATCHING sound.

 

The pimple grows larger, pushing and stretching the fabric until the tension on it is too much, and whatever is outside POPS through. 

 

An ebony spike about two inches long punctures the fabric -- and the silence.  The spike is motionless.

 

BACK TO RINALDO

 

He stirs, but once again falls back to sleep.

 

CU: CEILING

 

The SHADOW of what looks to be a thick-bodied snake creeps down the side of the tent toward the silhouette of Rinaldo, asleep on the cot.

 

The SHADOW moves slowly, sinuously and then stops only inches from the sleeping figure.  It pauses a moment -- then strikes with incredible swiftness.

 

Rinaldo is lifted partly off the cot, dragged upward by the snake-SHADOW, which has him by the throat.

 

CU: RINALDO'S FACE

 

Rinaldo screams silently, his hands gripping whatever's got him by the throat.

 

The thing shakes him like a dog shaking it's prey.

 

With a free hand, Rinaldo searches and finds his pistol on the bed.  We see the gun and hear the EXPLOSION as he fires a wild shot. 

 

Then his shadow rises off the cot, reeled in like a fish.

 

EXT. MEDIUM SHOT OF CAMP

 

Kurt and Rick come out of their tent, startled by the gunshot. Ilana also comes out of her tent.

 

A RIPPING SOUND rends the air.

 

They all run over to Rinaldo's tent.  Kurt rushes into the tent, his gun in hand.

 

The cot is empty.

 

There's a jagged hole in the ceiling fabric big enough for a man to fit through.  The fabric hangs down in shreds.

 

Rick, who also has his gun with him, comes into the tent behind Kurt.  A moment later, Ilana is there.

 

The lamp casts shadows all over the tent, but the hole is unmistakable.

 

RICK

(staring at the hole)

What the hell did that?

 

Kurt doesn't say anything as his eyes search the tent, his gun pointed everywhere he looks.  A flashlight in his other hand is on, but pointed at the floor.

 

RICK

(to Kurt)

Where's Rinaldo?  And don't tell me he went through that hole. Don't dare freakin’ tell me that!

 

Kurt puts his finger to his lips to shush Rick.

 

Then Kurt backs quickly out of the tent, and, standing in front of it looks above into the trees' thick vines and branches.  He shines his flashlight into the darkness.

 

Suddenly, something comes flying down from the trees.  It just misses Kurt and thuds to the ground. 

 

Kurt finds himself staring down at a severed human arm, still in its shirt sleeve.

 

RICK

Oh sweet Jesus, I'm gonna heave.

 

Kurt shines his flashlight into the darkness with one hand, and lifts his rifle with the other, firing several rounds.

 

ILANA

What was it?  What did you see?

 

KURT

I don't know -- but it was big.  It went up the tree like an ape ...

 

ILANA

There aren't any apes down here ... howler monkeys ...

 

KURT

It was no howler monkey.

 

RICK

So what the hell was it then, mate?

 

KURT

Something nobody's ever seen before ... a new species.

 

He looks at Rick, and it's clear the zoologist in Kurt  is excited by a new discovery and that his fear is for the moment in the background.

 

RICK

Cripes!  I don't want to meet any new species. 

 

Kurt goes back in Rinaldo's tent, where he searches with the flashlight again.  Rick follows him in.  Ilana waits nervously looking over her shoulder, her pistol in her hand.

 

RICK

What are you doing?

 

KURT

I saw something by the cot.  There it is.

 

He points the light, squats down and unbuttons a shirt pocket. He takes out a handkerchief and a tweezers-like instrument.

 

RICK

What is it?

 

KURT

(examining something in the light)

I don't know ... Looks like a       scale.  Rinaldo might have broken it off the thing.

 

RICK

A scale?  I thought you said it looked       like a big monkey?  Why would there be scales?

 

KURT

Some mammals have scales.  There's the armadillo, for instance.

 

Kurt looks thoughtful and wraps the scale up in the handkerchief and stuffs it back in his shirt pocket, careful to button afterward.

 

RICK

(incredulous)

So, you're telling me Rinaldo was       snatched up by some giant tree-climbing armadillo?  This is nuts ... We gotta get out of here, get back to the mining headquarters.

 

KURT

We can't go back there tonight.  It's twelve miles through the      jungle, and I don't know about you, but getting lost in the Amazon at       night is not my idea of the smart thing to do.

 

RICK

What else are we gonna do, genius? Help me out here.

 

KURT

We're going to sleep in shifts around       the fire, and then we'll leave at dawn.  Then we'll go back to the mining headquarters and stay there until we figure out our next move.

 

He strides over to the fire and throws some more logs on it.

 

KURT

I'll take first watch.  Rick, you're after me.  Ilana, your next   ...

 

He looks around, suddenly aware someone is missing.

 

KURT

Where's Jose?

 

RICK

Yeah, where’d he disappear to? He probably knows about this thing.

 

They see Jose standing at the other end of the camp, his bow and arrow in his hands.  They hurry over to him.

 

RICK

  What was that thing, Jose?

 

Jose peers into the trees around the camp.  He doesn't look afraid, only alert.

 

JOSE

A shadow.

 

EXT. FULL SHOT JUNGLE CAMP - DAY

 

The sun is rising and Kurt is kicking dirt into the fire. He's holding his rifle with both hands.  He watches the jungle a moment as the sky above him lightens. 

 

Jose is also awake, and is taking down his hammock.  Kurt walks over to Ilana's tent and standing outside, calls to her.

 

KURT

Time to wake up.

 

Ilana pokes her head out.

 

ILANA

You really think I slept?

 

Rick suddenly comes out of his tent.  He's carrying his gun.

 

RICK

How could anybody sleep knowing that        thing is out there?  I laid on my bunk holding my gun as tight as a girl all night.

 

KURT

Let's get moving.

 

They shoulder some packs, and Kurt leads a horse loaded with equipment.

 

EXT. WESTEX JUNGLE HQ--DAY

 

Establishing shot of toiling miners.

 

INT. WESTEX/TRAILER OFFICE

 

This is not the main HQ building, but a cheap office closer to the pit.  Samuels and two toughs are sitting around a desk, looking tired and edgy. 

 

CAMERA pans over Samuels' shoulder to a window.  Outside, the jungle is still, but there's movement in the trees and brush about 30 yards away as though a wind is blowing.  But there is no wind, and whatever is out there is moving closer.

 

There is a commotion outside and then a sudden pounding knock at the the door.  Samuels and the others jump out of their chairs.  Samuels nods to Schmidt, who draws a pistol and throws open the door.  He looks startled and pauses.

 

SCHMIDT

What do want?

 

Rick and Kurt push their way into the trailer.  Outside, Ilana is holding her rifle on a couple of guards.  They look flustered and have their hands up.

 

Rick gets right in Schmidt's face.

 

RICK

What do we want? We just ran through the goddamn jungle to tell you one of your guys is dead.

 

Ilana comes into the trailer at that moment, gun in hand.

 

RICK

You remember Rinaldo?  Well, you need a new wanker to do your dirty work.  Some goddamned thing ripped him to pieces.

 

Samuels speaks, calmly.

 

SAMUELS

What are you talking about?

 

KURT

Something got your man.  A large predator of some kind.

 

SAMUELS

A jaguar?

 

 

KURT

No.  Something else.

 

RICK

Some kind of bleedin' monster.

 

SAMUELS

We know there's something out there; we'll have that damn cat in a few days.

 

RICK

We're trying to tell you, mate: It's not a cat.

 

SAMUELS

Oh, bull!

 

KURT

What I saw wasn't a jaguar.

 

Samuels cuts him off.

 

SAMUELS

I don't have time for this, professor. Even Ph.D.'s are capable of seeing things in this jungle.

 

RICK

Jaysus, mate.  You don't seem too concerned about your boy Rinaldo.

 

SAMUELS

No one said the jungle was a damn retirement village.  We're here to make money, and that involves a                        certain amount of risk.  Rinaldo knew that.  And I hope you know it.  Otherwise, you should just go the hell home.

 

RICK

You guys are real pricks.

 

Samuels ignores him and goes back to reading papers on his desk.

 

ILANA

Are you going to help us figure out what happened to Rinaldo or not?  Whatever got him may have gotten my brother.  He's been missing for ...

 

SAMUELS

(cuts her off)

I'm not doing anything -- except to advise you all to get on the next plane out of here.  If I see you three again, I won't be nearly so accommodating.  Got it?

 

RICK

And just where are we supposed to go? I'm not sleeping in that blasted jungle another night.

 

SAMUELS

That's for you to figure out.  You're not staying in this compound.

 

Samuels nods to his goons.

 

SAMUELS

See 'em out ... You'll be all right.  Just stay out of my way.

 

Schmidt, with the thugs at his side, indicates they should head for the door.  The toughs are wary of Ilana, who still has her gun drawn.

 

They file out and the goons slam the door.

 

EXT. HQ COMPOUND - DAY

 

CU: JOSE WITH PACK ANIMALS

 

Jose stares at them balefully.

 

RICK

Well, that's about it for me, folks.  Singing crappy country songs on the street corner isn't so bad, after all ... But thanks for the memories.  Where's the nearest plane?

 

KURT

We're not leaving yet.

 

RICK

Where do you suggest we go?  I didn't                   see a Motel 6 back there at the airstrip.  Did I miss something?

 

Jose steps forward.

 

JOSE

Come to my village.  I'll tell my people to welcome you.

 

Jose's offer catches them off guard.

 

RICK

Back to the village ... Don't be offended, but I don't know about that ...

 

Kurt looks reflective.

 

KURT

I think that would be fine, Jose. Thank you.  Your people will not regret it, I promise.

 

Rick gapes at Kurt as if he's lost his mind.

 

RICK

(to Ilana)

Oh, man.  Make it stop.  I wanna get outta here with all my body parts.

 

ILANA

Stop your whining, will you cowboy. Show some guts.

 

RICK

Oh, that's nice.  I'm a coward now ... This place really is the bleedin' heart of darkness.

 

Kurt ignores him and slaps one of the pack animals on its hindquarters.

 

KURT

Let's go.  And thanks again, Jose.

 

Everyone starts walking back toward the jungle.  Rick doesn't move for a minute, and then with a curse, starts to follow them.

 

P.O.V. FROM THE DARK JUNGLE TREETOPS.

 

Something is watching as the group moves away from the compound toward the jungle.

 

FADE OUT

 

A SUBTITLE READS:

 

            THREE DAYS LATER

 

FADE UP ON:

 

EXT. MEDIUM SHOT NATIVE HUT--DAY

 

Kurt has set up a small laboratory on folding tables in front of the hut's entrance.  He fiddles with instruments and then checks a laptop computer. 

 

He stares at the screen for a moment, taps a couple of keys, and then calls over his shoulder into the hut.

 

KURT

Rick, Ilana ...

 

Rick and Ilana come out of the hut.  Jose also materializes. 

 

Kurt addresses Ilana as he might a student.  He's a little patronizing.  She is, after all, a non-scientist.

 

KURT

Have a look at this.  It's an electophoretic analysis -- a way of determining the genetic makeup of an organism ... You see, I took the scale that I found back at camp and ...

 

ILANA

Skip the lecture, I'm a detective, remember?  Crime labs use this all the time to get DNA readings on blood, semen, you name it.

 

KURT

(Sheepishly)

Yeah.  I forgot how common this is now.

 

He points to the screen.

 

KURT

Anyway, I had the computer compare our sample DNA to that of other hominids.  That's a strand of human DNA.

 

CU: COMPUTER SCREEN

 

Several strands of DNA double-helixes, side-by-side.

 

KURT

And this one over here, that's a chimpanzee.  Not much difference between human DNA and a chimp's at this level.  That's because our genetic make-up and the ape's is about 98 percent the same.  But oh, that two percent -- viva la difference, hey?

 

Ilana is impatient with his sophomoric teaching approach.

 

ILANA

And your point?

 

KURT

Moving right along ... This strand       here, well, that's our creature.  A few more differences there, but still pretty close to human.

 

Rick is startled.

 

RICK

You're telling me this thing's a       bloomin' relative?

 

KURT

Yeah, I am.  From what I can tell, it has more in common with us than the chimp.

 

RICK

That's too frickin' weird.

 

KURT

You want to see weird?  Have a     look at this.  I asked the machine       to compare this thing's DNA with      anything else in the data-base that        resembled it, and this is what it      pulled up.

 

CU: COMPUTER SCREEN

 

A fourth strand, resembling the thing's DNA much more closely than the human or chimp strands.

 

RICK

Okay.  So what's this?  Another ape?

 

KURT

Not quite an ape, not quite a man; a precursor to man.  This is a reconstruction of what our ancestor Homo Erectus' DNA may have looked like.  You can see it matches our creature's DNA at a number of points. I'm guessing this thing branched off maybe a million years ago ... Our creature is a prehistoric human.

 

ILANA

What we saw wasn't anything like a human.  

 

KURT

No, it wasn't.  It's changed over the eons; it's evolved to survive in an extremely hostile environment ... And from what I've seen, it's definitely at the top of the food chain.

 

RICK

If there's any place something could hide for all that time, it's down here ... But why's it showing up now?

 

KURT

All the mining activity is disrupting its habitat, flushing it out ...  It's a hell of a discovery, Rick.  I've got to find out more about it.  Its anatomy, what it eats, how it's survived in the jungle undetected all this time.

 

RICK

Whoa ... hold on.  What about the gold?

 

KURT

This is gold.  This is an incredible opportunity!

 

RICK

Yeah -- an opportunity to get our faces ripped off.

 

Ilana, meanwhile, is getting antsy.

 

ILANA

Wasn't Erectus a relatively       small ape-like creature?  This thing dragged a 200 pound man straight up a tree.  I'll say it's changed. 

 

Rick and Kurt both stare at her.  Kurt breaks the silence.

 

KURT

This thing's obviously dangerous ... but I want to trap it.

 

RICK

What?  Oh no, man!  No way!

 

KURT

I've got to get some videotape of it, for documentary purposes.  Then I'll let it go.

 

ILANA

We're not equipped to deal with this thing.

 

RICK

Listen to the woman, Kurt.  She's a       cop, she knows what she's talking about.

 

KURT

Oh, c'mon.  We're the super-predators here.  Our ancestors probably drove these things deeper and deeper into the jungle ... We put lions in zoos for kids to throw popcorn at, for God's sakes.

 

RICK

Oh, yeah?  When's the last time you      wrestled a lion?  And I know there aren't any man-eating tree frogs -- or at least I don't think there are.

 

KURT

Listen, we can get one of these       things,  I'm sure of it.  I brought along some anesthetic dart rifles.  I have a Taser.  And if they don't work, we'll use the AK-47s on it ...

 

RICK

A gun didn't help Rinaldo.

 

KURT

That thing caught him off guard;    That won't happen to us.

 

RICK

Right, mate.

 

Suddenly, the deep THROBBING sound of an approaching helicopter fills the air.  Seconds later, a chopper roars into view at one end of the village.

 

The CAMERA follows as the pilot brings it in low and the wind from its rotors sends clouds of dust in the air.  Yanomami women and children, run in terror.

 

The chopper hovers over some of the huts, blowing thatch off the roofs and causing havoc. 

 

Then the thugs in the chopper start SHOOTING at the village.  It's Schmidt and his punks.  They're laughing as they pass around a bottle and firing their guns.

 

POV THROUGH THE COCKPIT

 

Below them the Indians are running frantically in all directions.  A couple of the Yanomami men are struck by bullets and sent sprawling.

 

An Indian turns and bravely fires an arrow at the helicopter.

 

DRUNKEN THUG

(laughing)

This is great.  Look at that idiot!

 

He fires on the Indian, cutting him down.

 

DRUNKEN THUG

C'mon, let's get some more.  This is better'n huntin' rabbits.

 

The CHOPPER zooms in low over the village a couple of times.

 

BACK TO KURT, RICK AND ILANA

 

ILANA

It's those bastards from the mine.

 

 

 

Kurt and the rest grab their rifles to defend the villagers.

 

The helicopter touches down in a swirl of dust and noise.

 

FULL SHOT of five or six armed men, jumping out of the chopper.  Some of the men have incendiary grenades, and they walk through the village shooting at random and setting huts on fire.

 

Kurt takes a moment to videotape the scene.

 

The thugs don't yet know that Kurt and crew are in the village, so when Jose comes into sight (screaming in Yanomami) and starts shooting at them, one of the bad guys is cut down by Ilana before they react and shoot Jose.

 

Then Kurt, Ilana and Rick take up positions behind huts and return fire, hitting two other goons. 

 

Rick steps out into the open, and a bullet zings into the hut's mud wall next to him

 

ILANA

(to RICK)

Get down!  And stay behind that wall.

 

Rick ducks back down behind a hut.  The firefight continues, but ends quickly. 

 

The bad guys didn't expect to run into guns, and the four left standing (one has an arm wound), run toward the helicopter which takes off without them.

 

The chopper lifts straight up to tree-top level as the abandoned thugs scream at it to stop, although they can't be heard above the noise.

 

The thugs in the chopper start firing at Rick, Kurt and Ilana, who take cover behind a hut. 

 

The chopper flies toward them and Kurt and Ilana step out and open fire on it.  They score some hits.

 

CU: THE CHOPPER

 

The helicopter stops and lurches, shaking crazily, it flies up -- and then seems to fall into the trees, rotors snapping off as it crashes and gets tangled in some huge branches.

 

It hangs in the trees a hundred feet off the ground, upside down, burning and smoking with the thugs inside screaming.

 

Then it explodes in a violent ball of orange flame against the lush green of the forest.

 

The other thugs on the ground are stunned.  They stop firing at Kurt and Ilana and flee into the jungle.

 

MEDIUM SHOT of Jose on the ground bleeding.  His friends run to him.  He's shot in the shoulder, but not mortally wounded, and Ilana and Kurt begin first-aid treatment while Rick keeps a vigilant eye on the jungle. 

 

Other Indians start to return and a couple come to help with Jose.

 

ILANA

You're going to be OK, Jose.  The bullet went in and out pretty clean.

 

She tears a piece of his Led Zep shirt off for a tourniquet.

 

ILANA

Rick, please get the medical kit.

 

Rick goes to get the kit.

 

KURT

You're a brave man, Jose -- your gods are with you.

 

JOSE

My gods are ... what is it you say?  ... Pissed off!

 

Kurt stares at him, and Jose stares back, his eyes full of rage.

 

EXT. JUNGLE PATH - DAY

 

The three remaining thugs are hurrying as fast as they can through the jungle, but they're lost.  THUG3 is wounded and two of the others are helping him.

 

THUG1

What were those bastards doing there?

 

THUG2

It was those goddamned scientists.  Samuels will kill 'em when we get back.

 

THUG1

You know how to get back?  Cause I        sure don't.  Where the hell are we,       anyway?

 

THUG2

I think the river's this way.

 

They head toward the river with THUG1 in the lead.  The sun drops lower and the shadows lengthen.

 

THUG1

I hear the river!  Listen!

 

He turns around to his companions just in time to see THUG2 lifted bodily into the trees. 

 

The others SCREAM and THUG3, who is helping the wounded guy, drops him and starts shooting into the trees.

 

THUG3 stops for a moment, looks around wildly and starts running toward the river.  Behind him you hear the wounded guy on the ground, screaming for help.

 

The screams stop, as THUG3 continues running and stumbling, caught by vines and whipped by branches. 

 

He stops for a second and sees something, a shadow against the green canopy rippling through the trees overhead.

 

He turns, SCREAMING again and then suddenly is plucked into the air and there's a RIPPING, HOLLOW SOUND like a pumpkin smashing.  His headless torso falls to the jungle floor.

 

EXT. THE INDIAN VILLAGE - NIGHT

 

Rick is stretching near a fire in front of the hut, where he's on watch.  CAMERA MOVES inside hut, where Kurt and Ilana are on pallets near each other in the small room.

 

A low BEEPING sound is heard.  It's Ilana's digital wristwatch alarm.  Ilana turns the alarm off and watches Kurt sleep for a few moments.

 

It's evident that she is beginning to feel strongly about him.  She reaches over and gently wakes him.

 

KURT

Whaa?

 

ILANA

(looking at her watch)

It's your turn to stand watch.

 

Kurt groans and groggily turns to look at her.  He stares for a second, uncomprehending, and then he recognizes her.

 

KURT

Oh.  It's you.

 

ILANA

You were expecting someone else?

 

KURT

Naw.  You reminded me of       someone.

 

ILANA

You were dreaming; you thought I was one of your little college girlfriends. 

 

KURT

What?

 

ILANA

Rick told me all about them.  You're quite the randy professor.

 

KURT

He's right.  I'm every parent's nightmare.

 

Kurt pretends he's a sex maniac, and reaches for Ilana.

 

Ilana pushes him away, laughing.  Kurt laughs, too, and in all the confusion and fooling around, they touch and it's obvious they both like the sensation.

 

Ilana gives him a direct and sensuous look for a second, and stops laughing.

 

Kurt reaches over and kisses her.  She returns the kiss with passion and their hands are all over each other. 

 

Suddenly, Rick pops his head in the tent's doorway.  He stops in his tracks when he sees them smooching.

 

RICK

Oops.  My mistake, lovebirds.  I thought maybe one of you might want to relieve me out here.  That is, if you're not too busy.

 

Kurt jumps up, embarrassed.

 

KURT

It's my turn.

 

He grabs his rifle and Rick follows him outside to talk.

 

KURT

(to RICK)

You have a quiet shift?

 

RICK

If the sound of wild beasts tearing        themselves to pieces qualifies as quiet around here, I guess so.

 

KURT

I'm more worried about the Westex beasts.  There's going to be more of them next time.

 

RICK

Sons of bitches didn't know we were       here.  They just came in to kill some Indians.

 

KURT

I think Westex plans to start mining        this area soon, and the Indians        are in the way.

 

RICK

The swine ... But I haven't seen any evidence of gold around here.

 

KURT

It's nearby.  It's the only explanation for the attack on the      village.

 

Jose arrives at the hut, his arm in a sling.

 

RICK

You're one brave guy, Jose.  How's that arm doing?

 

JOSE

It's nothing.

 

KURT

Do you have any idea why those men      attacked your people?

 

Jose is quiet for a couple of beats.

 

JOSE

There is treasure in the caves of the green eyes ...

 

Rick and Kurt exchange glances.  Rick in particular, seems excited.

 

RICK

The green eyes -- is that another name for these shadow things?

 

JOSE

The shadows love gold and treasure as much as men.  When they find it in the river, they take it to their caves ... The miners have heard the legends and they are searching for the caves.  Now the shadows are angry, their land is invaded -- and so is ours!

 

KURT

Jose, you've got to take us to      the caves.  Maybe we can stop the miners.  If there's a new species out there and we tell the world.  It might force the government to stop them.

 

RICK

That's a stretch, mate.  Seems to me the government gets a pretty good cut of whatever comes out of the mines.

 

KURT

Excuse me, Jose.

 

He pulls Rick out of Jose's earshot.

 

KURT

Listen to me.  I've got to get one of these creatures.  I need more documentation ... any information that proves there's a man-like species down here will shake up our thinking about evolution.  The international science community will make a lot of noise, all right -- the government will have to listen.

 

RICK

I think you're feverish if you believe in all that tripe.

 

KURT

Look, stick with me on this, will you?  If the legend's true, the caves are filled with gold -- that's what you came here for, right?

 

RICK

(resigned)

Yeah, I guess ... Nothing's ever easy, is it?

 

Kurt pats his partner on the shoulder and turns back to Jose.

 

KURT

Tell us how to get to the caves.

 

JOSE

Can you stop the miners?

 

KURT

I think so.

 

JOSE

I'll help you, but I can't go with you to the caves.  It is forbidden.

 

Ilana comes out of the hut.

 

ILANA

What's the huddle, guys?

 

RICK

We're going monster-hunting.  Wanna come?

 

EXT. JUNGLE CANYON - DAY

 

The group is entering the mouth of a river canyon.  They are all riding horses and another horse is loaded with equipment. 

 

There are embankments on both sides of the water, with trees and jungle undergrowth leading to sheer cliffs that rise overhead.

 

They ride along a trail through the trees between the water and the cliffs.  Suddenly, Jose stops and looks around with obvious dread.

 

KURT

How close are we, Jose?

 

JOSE

They are near.  Half a kilometer.

 

Jose dismounts and pats his horse, which is skittish, as are the other animals.

 

JOSE

Be careful, Mr. Kurt.  Jose owes you his life and will wait for you.        But I tell you, do not go into the caves.

 

Ilana takes a moment to notice her surroundings.

 

ILANA

What a beautiful spot!

 

JOSE

Do not be fooled. Death is near.

 

RICK

Oh, I bet you tell that to all the tourists.

 

Jose gives Rick a blank look.

 

ILANA

He's just joking, Jose.  It's how he keeps from messing his pants.

 

RICK

(pats his AK-47)

Anything comes near me -- anything -- and I'm cutting loose with this cannon.

 

Kurt, who is carrying a dart rifle, is not amused.

 

KURT

Remember, I get first crack at it, okay?

 

RICK

Just get it on the first shot, 'cause if you don't, there won't be much of a specimen left.

 

Kurt shoots him an angry glance and then shoulders his gun and videocam.

 

The CAMERA follows them as they walk up the trail, and then PANS back for vista of river and cliffs on both sides.

 

Jose stands staring with a stony face.

 

P.O.V. FROM JUNGLE TREETOPS

 

Something is watching from the shadowy canopy.  There is a low whistling MOAN.

 

EXT. THE CAVES -- DAY

 

A series of caves pock the flank of cathedral-like cliffs that rise out of the jungle 20 or 30 yards from the river.

 

Kurt shoots them with his videocam.

 

RICK

What in the hell now?

 

He turns to Kurt, panicky.

 

RICK

Sure you want to go through with this?

 

KURT

I've got to get some video ... And a blood sample.

 

RICK

It's more likely to get a blood sample from us.

 

 

 

 

KURT

(staring at the caves)

You can turn back anytime.

 

Rick thinks for a second. It's clear he's scared, and yet he wants to stay with his friend. But he can't bring himself to say it straight out.

 

RICK

Naw, mate. I'm having too much fun.

 

KURT

What about you, Ilana?

 

ILANA

And let you amateurs shoot each other? That’s inhumane.

 

EXT. THE CAVES

 

The crew stands near the entrance to a huge cave in the cliff. Other caves are above them, some are further down the trail, half obscured by trees.

 

Kurt takes a powerful flashlight from his belt and shines it into the cave.  Right away, he sees something extraordinary. The rock-littered floor of the cave glitters with gold.

 

RICK

There's gold everywhere ... We're rich, mates.  Look at this!

 

He's already reaching into the cave and picking up nuggets. As he starts to toss aside a large rock to get at a nugget, he realizes the rock is a human SKULL.

 

CU: THE SKULL

 

Rick throws the skull aside and backs up. 

 

Kurt plays the light around the entranceway, and wherever he aims it, there are human bones mixed in with the skulls and skeletons of crocodiles and other large animals.  Gold is strewn everywhere.

 

RICK

It's a slaughterhouse.

 

Something catches Kurt's eye, and he reaches down to pick it up. 

 

It's a gold key.  He turns it over in his hand and then gives it to Rick.

 

KURT

Didn't that geology professor who disappeared down here, what's his name -- Jessup -- like to show off his Phi Beta Kappa key?

 

CU: THE KEY

 

RICK

(horrified)

Think that's Jessup's?

 

KURT

(smiling)

Either that, or these things are a lot smarter than we thought.

 

As Kurt shines the flashlight inside the cave, Ilana gasps.

 

ILANA

Over there ...

 

She takes Kurt's flashlight and directs it at one side of the cave ... She cries out.

 

ILANA

There ... That's Mack's.  That's the scarf I gave him for his birthday.  Oh, my baby brother!

 

The flashlight plays over a partial SKELETON in khaki shirt with a purple scarf around its neck. 

 

Suddenly, there is a NOISE behind the group, and they wheel around, their guns ready, expecting to be attacked by a shadow creature.

 

There is a monster behind them, all right, but it's Samuels and his thugs, not the creature.

 

Samuels and at least 20 henchmen come out of the jungle. They've broken with Westex on their own rogue treasure hunt. 

 

They're armed to the teeth, with machine guns, grenades, a flamethrower and other weaponry.

 

Their guns are trained on Kurt and his party.  Samuels steps forward and grinning like a fox, takes Kurt's gun.  His men collect the others' weapons.

 

SAMUELS

Nice to see you all.

 

RICK

Ah, screw you, you old sod.

 

Samuels smiles again, and then unexpectedly smashes Rick in the face with the butt of his rifle.  Rick buckles to his knees, and Kurt and Ilana rush over to help him.

 

SAMUELS

Now that is sweet.  You've all become       such good friends.  Even you, Ilana. Your little act almost seems genuine,       as if you really cared.  Who would ever guess that you're the one that sold 'em out?

 

Samuels applauds.

 

Kurt and Rick, who is stumbling to his feet and holding his head, turn to Ilana.  She is obviously furious.

 

ILANA

You bastard!  He's lying, Kurt!  Don't believe him.

 

KURT

(to Ilana)

What's going on?

 

SAMUELS

Our police lady's been keeping      tabs on you fellows for some time,      reporting back to me on your movements.

 

 

 

Ilana goes to slap Samuels, but he catches her arm and twists it, pulling her close for a moment and then handing her off to some of his men, who restrain her.

 

RICK

(to Ilana)

You duplicitous bitch.

 

ILANA

He's lying ... It's true that Westex       is paying me as an investigator.  But I've been on the payroll since I got down here -- weeks before I met you guys.  They wanted me to keep tabs on Beckworth -- he was looting the mine.  It was cop work ... I was asked to keep an eye on you, too, but I told them nothing -- I swear to God.

 

Ilana's eyes seek out Kurt, but he looks away.  Rick is seething.

 

SAMUELS

(to Ilana)

You get the feeling maybe they don't believe you?

 

Just then Samuels notices something glittering on the ground. He bends down and picks up a GREEN JEWEL the size of a quarter.

 

SAMUELS

Ah ... Forget the gold.  Here's the real treasure!

 

He holds up the gem -- it's an emerald -- for Kurt and Rick to see.

 

SAMUELS

You ever see an emerald this pure?  We've had reports of them down here. One of them is worth thousands.

 

Rick and Kurt stare at the gem, astonished.

 

KURT

(to Rick)

"The caves of the green eyes" ... He was talking about emeralds.

 

Samuels examines it again, and then tosses it to a confederate, who looks at it admiringly and puts it in a backpack.

 

Samuels turns to his men, and his voice takes on a tone of command.  He's all business now.

 

SAMUELS

There should be a lot more in the caves.  Pick up as many as you can carry -- don't bother with the gold!  And whatever lives here is not going to be happy to see you ... So shoot to kill; and don’t stop ‘til it’s dead.  

 

He motions his men inside and then turns to Kurt, Rick and Ilana, who have two armed men pushing them from behind.

 

SAMUELS

I want you to come along.  We might need you in there -- especially if these things are as mad as I think they might be.

 

The CAMERA follows them as they enter the cave.  The mercenaries' guns are ready and laser scopes come on, piercing the darkness along with powerful flashlights, some mounted on the rifles.

 

RICK

(to Kurt, a whisper)

Is he planning on feeding us to these things?

 

KURT

Kind of looks that way.

 

RICK

Just bloody great, mate!

 

KURT

Stay on your toes.

 

RICK

We're about to become a between-meals snack, and that's all you can say?

 

They advance slowly and it quickly becomes apparent that the cave is a labyrinth.  Smaller passageways honeycomb the main cave on all sides. 

 

Skulls of animals and humans, as well as other bones, are scattered everywhere.  But so are gold nuggets and emeralds.

 

The morbid quiet soon gives way to LAUGHING and TALKING as men scramble to pick up the emeralds. 

 

Samuels and five tough-looking heavily armed men at the front of the group all look tense and alert.

 

SAMUELS

Keep it down, you idiots.  We don't want to invite this thing to the party.

 

The men quiet down, but the gem grabbing goes on as they move slowly along the cave's main corridor.  The further in they go, the more gold and jewels they find.

 

At the rear of the group, Kurt is watching with interest, Rick with anxiety and Ilana with a cool detachment.  Rick can no longer contain himself.

 

RICK

Hey, Samuels.  How far in do you want to go here?  You wanna live to spend that treasure?

 

SAMUELS

Shut up!

 

He turns to Schmidt.

 

SAMUELS

Look at it all.  This is better than we imagined.

 

Samuels turns to the other men, who are still gathering gems.

 

SAMUELS

Fill your packs ... We're rich men, you too, amigo.

 

He slaps Schmidt on the back.

 

As Samuels is slapping Schmidt on the back, and chuckling, something drops down from the ceiling and wrests Schmidt off the ground.  He SCREAMS.

 

A quick teasing shot of the CREATURE, sleek with oily scales and powerfully muscled limbs.  There is a flash of huge fangs as it drags Schmidt into a narrow passage on the ledge above the group.

 

Eerie whistling MOANS echo off the cave walls.

 

Samuels' men open fire and the cave is filled with deafening gunfire.  Two of the men fall to the ground, hit by their own richocheting bullets.

 

SAMUELS

Stop!  Stop shooting!

 

The men, however, are panicky and either can't hear him or aren't listening and just keep firing.

 

Samuels grabs the nearest guy's gun barrel and forces it down and then grabs another and does the same thing.  All the while, he's SHOUTING for them to stop. 

 

Finally they get the message, and the fire stops, but the men keep their lights and lasers trained on the ceiling.  They are all backing up now. 

 

One of the shot men is dead; the other is moaning, and two of his comrades are helping him.

 

SAMUELS

The goddamn bullets are bouncing off the walls.  Don't fire unless it's absolutely necessary.  Now let's get out of here.

 

RICK

That's the smartest thing you've said yet.  You've really pissed it off, Samuels.  Give us some guns!

 

SAMUELS

Shut up!

 

Samuels and his men continue to back out, and most of their lights are on the ceiling and the small caves along the ledges, as well as behind them.

 

Samuels has moved toward the back with Rick and Kurt and Ilana, which is now the front of the group, since they are retreating.

 

KURT

Did you get a glimpse of that thing? It was unbelievable!

 

RICK

Yeah, beautiful, man.  And unless we get out of here soon, it's going to kill us all.

 

At that moment, there are more SCREAMS and GUNFIRE at the back of the group.  Now several of the creatures have attacked head-on, in a ferocious onslaught.

 

They move among the armed men like sinuous, clawing shadows, ripping and tearing at them.

 

The cacaphony is made worse by the creatures' fearsome, gutteral HOWLS and whistling MOANS. 

 

Flashes of gunfire erupt amid erratic, swooping flashlight and laser beams.

 

It's bedlam and everyone flees in terror toward the cave entrance, which can be seen up ahead, an arch of dusky, silver light.

 

KURT

(running with Rick and Ilana)

There are more of them!  It's a nest. The species survives!

 

RICK

Yeah, and I want to survive, too ...      Run, mate!

 

Of the twenty or so men who went in, only half are left. Samuels is right behind Rick, Kurt and Ilana as they run. 

 

A thug lands next to Ilana, his throat ripped out.  Without missing a beat she picks up his machine gun, and turns to fire at something in the darkness.

 

Then she runs again.  Now there are less than 10 of them left, and the weird MOANING and HOWLING behind them is louder. 

 

Something knocks Kurt flying and the CAMERA follows a swiftly moving shadow thing, barely visible in the murk.

 

CAMERA focuses for quick shot of a gaping, scaly muzzle with fangs ready to tear into Kurt.

 

CU: KURT

 

Kurt, throws his hands up protectively, his face a grimace of fear.  Suddenly, a burst of machine-gun fire knocks the creature writhing and howling into the deeper darkness.

 

Ilana, still firing the machine gun, clears a swath around them, up and down.

 

Kurt gets to his feet.  He looks into Ilana's eyes and, without saying a word, reaches down and picks up a deadman's AK-47.  He fires a burst into the darkness and backs quickly toward the cave entrance.

 

Ilana is at his side firing away.  What's left of the group bursts out into the open, still firing into the cave. 

 

All of a sudden, the two opposing groups realize at the same time that they're all outside and armed.

 

Kurt, Ilana and Rick (he picked up a gun along the way), turn and point their guns at Samuels and his remaining seven or eight men. 

 

It's a standoff.

 

Then they hear the HOWLS from the cave, and they all turn as one and fire sheets of bullets into the cavern.

 

Meanwhile, the last of the frightened horses can be seen disappearing into the jungle.

 

They all cease fire, and start backing away from the cave.

 

SAMUELS

(bloodied and shaken)

What were those things?

 

KURT

I don't know.  But if we don't get out of here, I think they're going to come after us.  Look!

 

He points to one of the caves further up the river, where a few shadow figures can be seen slithering out among the rocks.

 

SAMUELS

Damn!

 

RICK

Jaysus, man!

 

Everyone starts running for the river.  Shadowy shapes can be seen sneaking about the caves and rocks along the river's banks.

 

The CAMERA follows the humans as they run, fronds and ferns whipping against their legs.  Kurt's group is now separate from Samuels and his men.

 

RICK

Where we going?

 

KURT

If we go back to Jose's village, they might follow us there; it wouldn't be right to lead them to the Indians ...

 

KURT

The mine headquarters is probably the safest place.

 

Weird howls can be heard in the distance, coming nearer.

 

RICK

So, we escape these things and then deal with Samuels and his men.  Sounds like a lose-lose situation to me.

 

KURT

I'd rather face Samuels than these things.

 

RICK

Yeah, he's uglier but he's not as       smart.

 

They all laugh, including Ilana, which brings her to Kurt and Rick's attention.

 

KURT

(mockingly)

You gonna pass my comments along to       your boss?

 

ILANA

I didn't tell Samuels anything about you guys, you've got to believe me, Kurt.

 

KURT

So how come he was able to follow us to the caves?

 

ILANA

My guess is he was watching us.  After we fired on his men in the village, he probably wanted to kill us.  But he let us live on the chance we might lead him to the emeralds. He got lucky.

 

RICK

(to Kurt)

I believe her, mate.  Let it go.

 

There's a moment's silence.

 

RICK

Ease up, old man.  Didn't I see her       save your life back there?

 

KURT

(glumly)

I'm indebted forever.

 

Kurt keeps moving, silent after this last statement.  Ilana continues jogging without answering.  They all run, silently, the MOANS drawing nearer.

 

EXT. THE RIVER'S EDGE

 

Samuels and his men are running along the river, splashing through the water, casting terrified glances over their shoulders. 

 

The strange moaning howls are coming from the jungle behind them.

 

A THUG in front of Samuels is wading through the water, swearing to himself.  He stops for a moment and spits into the river.

 

The river instantly erupts in an explosion of foaming water.

 

A CREATURE jumps furiously out of the water and pounces on the thug.  The creature is a blur of speed and exploding water, moving with the unexpected suddeness of a gator attacking a fawn.

 

The thug is ripped open and dragged back into the river in an instant. 

 

The river runs red with blood, and the other men and Samuels can only stare with horror, their guns pointed at the water.

 

Then they start yelling and jumping out of the water, but not before another CREATURE hurls itself out of the river, and drags another man in.

 

The men are in disarray now, splashing ashore and running along a jungle path by the riverside. 

 

One of them is suddenly plucked straight into the air screaming, and then another and another.

 

The creatures are in the water and in the trees all around them.

 

Samuels opens fire on the things in the trees.  We see him shoot the BODY of one of his own men as it dangles among the thick tree branches.

 

The body, wedged in the crotch of a tree twenty feet up, lurches and jerks about as the bullets hit.

 

A creature's elongated claw (the thing is behind the tree) slides away from the body and it drops to the ground.

 

BACK TO SAMUELS

 

Samuels and his remaining men back away firing into the trees.  Samuels tosses a grenade into the river, and it blows up in a cataract of spray.

 

EXT. JUNGLE CLEARING

 

Kurt, Rick and Ilana meet up with Jose.  The HOWLS continue in the background, but gradually come closer. 

 

Kurt starts pulling ammo off the pack horses and loading his gun.  He tosses cartridge clips to Rick, Ilana and Jose.

 

Jose is watching the jungle behind them, fear growing in his eyes.

 

KURT

(to Jose)

We can't go back to your village.

 

JOSE

No. My people will kill you.  They       will kill me, too.  It is the only way to stop the shadows.

 

Rick, meanwhile, pulls his guitar off the horse, inspects it quickly, and hangs it by its strap upside down on his back.

 

KURT

(to Jose)

You'll come with us then?

 

GUNFIRE is heard in the distance.

 

RICK

Let's stop yakking and get moving.

 

They all start moving quickly along the jungle path.  They hear SCREAMS and more SHOTS from Samuels' men, who are over by the river.  They hurry on.

 

EXT. THE HQ COMPLEX -- DUSK

 

They come out of the jungle near the mining pit.  The cyclone fences and barbed wire of the HQ complex are 100 yards ahead of them.

 

They sprint for the front gate.  Behind them, dark shapes appear in the trees, MOANING and HOWLING, never quite showing themselves.

 

As the crew members run across the wasteland between the jungle and the HQ, something suddenly streaks out of the undergrowth and leaps on Jose's horse, dragging it to the ground and sending Jose flying.

 

The horse whinnies in terror and both Kurt and Rick turn to fire at the thing, which is already tearing the poor animal to pieces.  Their bullets find their mark in the growing dusk.

 

But other shadows are already slinking toward them, although the creatures slow at the sound of gunfire.

 

Ilana starts running for the compound's front gate.

 

RICK

Go!  Get that goddamn gate       open!

 

Kurt and Rick keep up a steady fire in the direction of the jungle, never really getting a clear look at the darting, flitting shadows. 

 

The CAMERA follows Jose and Ilana to the gate.

 

Ilana pulls at the gate in vain, kicking it a couple of times.  It's locked, of course, and she has to shoot it open.

 

ILANA

C'mon, it's open!  C'mon!

 

Kurt and Rick run up to the gate, and the three of them duck inside.  Kurt takes a heavy chain hanging from the lock, and lashes the gate closed as Ilana and Rick pound at an entrance door.

 

Just then, huge black shapes leap onto the cyclone fence, tearing at the metal links.  Now everyone gets their first full look at the CREATURES in the dusky green light reflected off the encroaching jungle. 

 

We can see they are hairless, leathery-scaled hominids with both reptilian and ape-like characteristics.

 

Their arms and legs bulge with ropes of muscle and sinew, and they are starting to rip the metal cyclone fence apart with their teeth and claws.  They are full of a terrifying, snarling fury

 

CU: A QUICK FLASH OF A HOMINID'S HUGE CANINE TEETH TEARING AT THE CYCLONE FENCE.

 

Other creatures are throwing themselves against the fence in a frenzy.

 

BACK TO KURT, RICK AND ILANA

 

They frantically pound on the door, but no one answers.  Finally Kurt tells the others to stand back, and he shoots the lock open.

 

They rush inside and behind them they hear the things getting even more frenzied and the sound of rending metal.  The four find themselves facing another door with a huge handle, and this one is open.

 

They rush inside and close it and bolt it behind them.  It's a large steel door, and the creatures throwing themselves at it on the other side come through as muffled thuds.

 

The four of them face the door with their guns for a moment, and are caught off guard as Samuels and several of his henchman come into the room with their guns out.

 

SAMUELS

Hold on ... We're all in this together.  Those things are unstoppable!

 

Kurt looks around the room, at the ceiling

 

KURT

This place is secure, right?

 

SAMUELS

It's built like a fortress ... the walls are solid stone.  The company was always worried about an uprising by the miners or the Indians.

 

As he says this, a chill runs through Rick.

 

RICK

Cripes, it's cold in here.  You guys always leave that air conditioning on?

 

Kurt and Samuels look at Rick and then at each other.  Ilana catches their drift.

 

ILANA

Oh, damn.  The air conditioning ducts.

 

The men don't answer her, but they start running.  The CAMERA follows them down a passage, Kurt and Samuels are running together, talking as they go.

 

They reach the end of the hallway where a duct grate is affixed to the wall near the ceiling.  Samuels pulls a grenade out.  Kurt puts his hand on Samuels' arm.

 

KURT

Not yet.

 

Kurt looks around the hallway.  We can hear the THUMPS and muffled YOWLS from the things.

 

KURT

We can't block every air duct ... they're probably in every room and corridor ...

 

RICK

What the hell do we do, then?  Wait for those things to come and chew us up?

 

KURT

Where's the main conference room?       We can take a stand there ... These things are nocturnal; they'll go back to their caves when the sun comes up ... maybe we can get out then.

 

SAMUELS

This way.

 

They all follow Samuels down a couple of different corridors. The pounding continues and there is a SHRIEK of metal being bent and tortured.

 

RICK

That didn't sound good; I think we're       going to have visitors.

 

Even as he says this, the group rounds a turn to find one of the things bursting through a grate at the other end of the hallway.

 

CU: CLAWS EMERGING FROM THE DUCT

 

They fire at it and it retreats back into the duct.  Samuels reaches a set of doors in the middle of the hallway.

 

SAMUELS

In here.

 

He tries to open the heavy double-doors, but finds they're locked.  He pounds on the door.

 

SAMUELS

Open up!  It's Samuels.  Open up!

 

The doors swing back, revealing a group of seven or eight armed men in civilian clothes.  They're the building's guards and maintenance crew. 

 

The tele-conference screen is on, and Culp is staring down from it.

 

CIVILIAN1

What the hell is going on?

 

SAMUELS

Some kind of animals are attacking the place.  Bolt the damn door.

 

The doors close and lock.

 

CULP

(from the screen)

Samuels!  What's happening down      there?

 

KURT

(jumps in)

I'll tell you what's going on.  Your genocide against the Indians is over.  I'll see to that as soon as we're out of here.

 

Rick and Ilana have their guns pointed at Samuels and his crew, who, of course, are pointing their guns back.

 

CULP

Who the hell is this and what's he talking about?

 

SAMUELS

He's nobody.

 

CULP

Well, see that he's dealt with.

 

RICK

(lifting his gun)

Dealt with?  What's that mean, prickmeister?

 

CU: CULP

 

CAMERA on his angry, arrogant face, which fills the screen.

 

CULP

Take care of it, Samuels!

 

BACK TO RICK

 

 

 

RICK

I'll take care of it all right, you son of a bitch!

 

Rick cuts loose with a burst from his gun, blowing the screen to bits.

 

Everyone is startled -- but before they can recover, there's a sudden scratching at the locked doors. 

 

Samuels opens a drawer in Beckworth's desk and pushes a button.  Another door in the back of the room sweeps open, revealing a stairway down into a tunnel.

 

KURT

Where's that go?

 

SAMUELS

Corporate had this built so      management could get to the airstrip in the event of a serious labor problem.  It's 100 yards and there are a couple of planes out there.

 

Samuels looks at the group of about 15 people.

 

SAMUELS

We can probably fit everybody.

 

He looks around again.

 

SAMUELS

I can fly one of the planes.  Do we      have another pilot here?

 

Rick and Kurt look at each other.  There's a pause and then Ilana steps forward.

 

Everyone looks at her a moment.

 

RICK

A regular Indiana Jane.

 

SAMUELS

Let's go.

 

The group starts filing into the tunnel, Samuels in the lead. 

 

Kurt, Rick and Ilana hang back to watch the double doors, which start to sway and buckle as the CREATURES throw themselves against it.

 

The last of the group file into the tunnel and then Kurt sends Ilana in, although she hesitates.  As she enters the tunnel, the double-doors in the other room buckle in, and claws curl around the twisted metal.

 

Kurt and Rick open fire and back into the tunnel as the other door comes off its hinges.  Not bothering to look back, Kurt and Rick slam the steel doors to the tunnel and bolt them.

 

The creatures are already on the other side pounding and scraping.  Kurt and Rick take off down the tunnel, which is lighted by naked light bulbs.

 

The CAMERA follows them as they run.  Behind them, we hear the metallic booms of creatures throwing themselves at the tunnel doors.  

 

As Kurt and Rick scramble, the lights begin to flicker and then go out.  The booming is louder.

 

RICK

Damn.

 

Kurt flicks on a small penlight.

 

RICK

I'm so glad you're such a Boy Scout.

 

KURT

Just keep moving.

 

RICK

Don't worry 'bout that.

 

The other end of the tunnel comes into sight.  There's a full moon, so it's easy to see. 

 

The booming continues, along with the sound of twisting metal, which means the creatures are making progress in knocking down the doors.

 

As Kurt and Rick get closer to the open end of the tunnel, the door ahead of them starts to close.

 

RICK

(shouting)

Open the door!

 

INT. AIRPLANE HANGAR - NIGHT

 

The tunnel comes up inside an airplane hangar.  The hangar's doors are wide open and through them we see the airstrip and two 20-passenger corporate prop planes on the tarmac in the bright moonlight.

 

Samuels' thugs are herding the Westex employees toward one of the planes. 

 

Samuels is pushing the tunnel door shut before Kurt and Rick get out.

 

Ilana knocks Samuels aside and then follows up with a roundhouse punch that sends him to the ground.  Two other THUGS grab Ilana, but she's able to elbow one of them in the groin and punch the other out.

 

Her intervention gives Kurt and Rick enough time to get out of the tunnel, but as they step out Samuels stands up and trains his gun on all of them.  They freeze.

 

SAMUELS

Now if you'll just close that door behind you.

 

There's a loud CRASH from the tunnel, the sound of the metal doors caving in.  It's clear the creatures have smashed through the other end and are on their way.

 

SAMUELS

(strained)

I said close the damn doors!

 

CU: SAMUELS' TRIGGER FINGER ON HIS GUN.

 

SAMUELS

Oh, screw it.

 

He raises his gun slightly to shoot Kurt.

 

As Samuels is about to pull the trigger, a noise in the tunnel distracts him and Rick rushes at him screaming, knocking Samuels' gun aside.

 

Rick jumps on Samuels and the two go down with Rick on top, punching.  Kurt turns his gun on the other two thugs just as the tunnel door flies open and a creature leaps out straight into the thugs.

 

It rips into the two men as the other thugs run toward a waiting plane, firing a couple of shots over their shoulders.

 

Kurt jumps up and slams the tunnel door shut and bolts it just as another creature rams it from the other side.  The door holds.

 

Kurt never takes his eyes off the other creature as it attacks the two men and he trains his gun on it as it slowly turns back toward him and Rick.  The two thugs are dead or badly mauled and dying.

 

Samuels, out of view of the creature, manages to get to his feet and scurry off towards the waiting planes.

 

Kurt and Rick are both awed and frightened by the thing. Kurt balks at blasting it.

 

The creature rises slowly to its full seven-foot height and the CAMERA takes in this leathery, heavily muscled and fanged horror.

 

Its movements are more reptilian than ape-like and its eyes are monstrous and golden-green.  Meanwhile, other creatures crash against the tunnel's exit doors, keeping up a constant, horrendous din.

 

Rick is still on the ground, paralyzed with fear.  His rifle was knocked out of his hands and lies a few feet away.  He's afraid to make a move.

 

RICK

Oh, Jaysus.  Shoot it, Kurt! What’re you waitin’ for?

 

Kurt is still in awe, studying the creature.

 

The creature begins to crouch slightly, its muscles bunching and flexing for a pounce.  Its eyes glow with predatory intelligence as it stares directly at Kurt.

 

KURT

(with admiration)

Amazing...

 

RICK

Just shoot the bugger!

 

The creature gives a whistling, snake-like HISS, and bares it's huge fangs.

 

Then it uncoils and pounces.  Kurt catches it in mid-air with a last-second burst.  The thing crumples into a hurtling ball of flesh and claws and crashes into Kurt, throwing him to the ground.

 

Kurt's able to roll out from under the thing as it writhes in its death agony.

 

He gets to his feet and he looks almost sad as he examines the creature before putting another fusillade of bullets into it.

 

Rick jumps to his feet and the banging on the tunnel doors is louder now.  With each BANG, dents stipple the surface of the metal doors.

 

Kurt seems unaware of the noise as he trains his videocam on the dying creature.

 

RICK

Let's go!

 

KURT

I just need to get some specimen samples.

 

Kurt squats down beside the creature.

 

RICK

You're insane, mate!

 

Kurt doesn't answer, but busies himself with his work.  The doors are pounding behind him.

 

CU: THE CREATURE

 

Its arm jerks spasmodically and a taloned claw grabs Kurt's arm.

 

RICK

(reacts, raising his gun)

Christ!

 

Kurt is startled, but it's just a muscle contraction by the dying creature.  Kurt gently, almost tenderly removes the still shaking claw from his arm.  A constant POUNDING continues from the tunnel door.

 

RICK

Let's go, man!

 

Ilana casts a glance at the buckling door.

 

ILANA

Now, Kurt!  Now!

 

Kurt jumps to his feet and the three of them start running for the planes.  Behind them, the doors start to buckle.

 

EXT. PLANE NO.1 - NIGHT

 

Samuels is climbing on board, and his men are holding the civilians at bay, collecting their guns.  One of the civilians rushes at one of the thugs, but is pushed back.

 

THUG

(laughing)

You'll have to catch the next flight,        amigo.

 

The civilian jumps the thug, and is pushed back again and then shot.  The other civilians back up on the tarmac.

 

Samuels is in the cockpit, piloting the plane.  He signals the last thug outside to get in.  The thug backs up the ramp into the plane, his gun trained on the civilians.

 

EXT. SAMUELS' PLANE - NIGHT

 

The plane's engines roar to life, and the plane begins to roll on the tarmac.  The moonlight is bright and the runway is easy to see.

 

The civilians have been disarmed and they are now backing away.  Some spot Rick, Kurt and Ilana running toward the other plane, and start running toward it themselves.

 

CU: THE TUNNEL DOOR

 

The POUNDING continues and the badly dented door comes off its hinges with a crash.  First one and than another of the creatures leap out and begin running toward the planes.

 

It's dark, so their shapes are indistinct.  Others follow. The creatures run swiftly, bent over almost parallel to the ground, with a lizard-like agility.

 

EXT. PLANE NO.2

 

Kurt, Rick and Ilana arrive and the panicked civilians are waiting for them.

 

Ilana is first up the ramp and on board.  The civilians follow, with Kurt and Rick pulling up to the rear, their guns aimed back toward the tunnel.  They're looking toward Samuels' plane.

 

EXT. SAMUELS' PLANE

 

CAMERA follows several of the creatures as they hop onto the wings of Samuels' plane, which is moving slowly down the tarmac, ready for takeoff.

 

Kurt and Rick are backing up Plane No. 2's ramp, guns ready. They see the creatures.

 

RICK

Damnation, mate.  Lookit those things.

 

KURT

Yeah, get in the cabin.  We haven't caught their attention yet.

 

Kurt and Rick go into the cabin, slamming the hatch door behind them.

 

INT. AIRPLANE CABIN

 

The civilians are buckling into their seats.

 

Ilana is in the cockpit, checking gauges, etc.  She fires up the engines as Kurt and Rick come in.

 

KURT

What can we do to help?

 

Ilana looks tough, in control and beautiful.

 

ILANA

Sit down and buckle up!

 

EXT.ILANA'S PLANE--NIGHT

 

The plane's props whine faster as Ilana maneuvers it for takeoff.

 

EXT. SAMUELS' PLANE

 

Several creatures are crawling over the plane as it moves down the tarmac.

 

INT. ILANA'S COCKPIT

 

RICK

(beseeching)

Get this bird in the air!

 

ILANA

(fooling with controls)

We're going.  We're going.

 

EXT. ILANA'S PLANE

 

Ilana's plane moves down the same runway as Samuels' plane, which is up ahead and beginning to lift off -- although it has several creatures clinging to it.

 

EXT. SAMUELS' PLANE

 

Creatures are ripping holes in the fuselage and cabin.

 

INT. SAMUELS' PLANE

 

One of the creatures tears a gaping hole in the cabin.  A couple of Samuels' men open fire on it, blowing it away.

 

Samuels yells over the plane's throbbing motors.

 

SAMUELS

Don't shoot the goddamn plane!

 

EXT. SAMUELS' PLANE

 

The plane makes a wobbly lift off.  There are still some creatures on the wing.  One of them is tearing at a hatch door.

 

CU: CREATURE ON WING

 

It's clawing off chunks of the fuselage, and debris falls from the airplane.

 

INT. SAMUELS' PLANE

 

Samuels is trying to fly the plane and watch what's going on in the cabin.  He's having difficulty getting up enough airspeed for liftoff.

 

The creature is still clinging to the wing, and it's managed to smash a hole into the cabin large enough for it's upper body.

 

SAMUELS

Don't shoot.  Use your machetes!

 

A couple of Samuels' men hack at the creature with machetes, trying to force it out, but its scaly armor is more than enough to deflect the blades.  The plane is listing to one side (the creature's side).

 

SAMUELS

Get it off!  Get it off!

 

EXT. ILANA'S PLANE

 

The props are turning faster and the plane is swinging around on the runway, preparing for takeoff.  Samuels' plane is rolling toward liftoff, and it's obvious Ilana's waiting for it to clear the runway.

 

CU: ILANA IN PILOT'S SEAT

 

She wants Samuels' plane out of the way.

 

ILANA

(revving the engines)

Dammit!  Get out of the way!

 

EXT. TWO CREATURES

 

Ilana's plane has now caught the attention of two creatures a hundred yards away.  They'd been chasing the other plane, but they now start their reptilian lope toward Ilana's plane.

 

Rick sees the creatures.

 

RICK

There's two of 'em coming this way.       Get this off the ground, please!

 

ILANA

(making a decision)

Ah, the hell with Samuels.  I can't wait anymore.

 

She opens the throttle, and the plane lurches forward.

 

EXT. FULL SHOT THE TWO PLANES--NIGHT

 

Ilana's plane is speeding up, while down the other end of the runway, Samuel's plane is slowing and listing to one side.

 

Two creatures, meanwhile, are gaining on Ilana's plane, but she suddenly picks up speed and pulls away from them.

 

Samuels' plane lifts off and rises to tree-top level, but continues to wobble.

 

CU: WING OF SAMUELS'PLANE

 

We see a creature's spiny back and its powerful muscular legs gripping and clawing at the plane's exterior.  A chunk of the wing is missing, and as we watch, the thing's taloned foot tears away another piece, and the plane lurches.

 

Samuels' plane starts to go down.

 

INT. CABIN OF SAMUELS' PLANE

 

One of Samuels' men is thrown against the hole where the creature is gouging away.  The creature grabs him and rips him screaming through the now gaping hole.

 

EXT. CABIN OF SAMUELS' PLANE

 

Holding onto the fuselage, the creature flings the guy, who is still alive, from the plane.

 

EXT. BOTH PLANES

 

Ilana's plane is gaining on Samuels'.  The two creatures appear to have fallen further behind Ilana's plane.

 

INT. ILANA'S PLANE

 

Ilana and Kurt watch in horror as Samuels' henchman is flung from the other plane.

 

EXT. SAMUELS' PLANE

 

After throwing the guy off the plane, the creature turns on the hole with renewed fury and starts to enter the plane.

 

EXT. BOTH PLANES

 

CAMERA pulls back for shot of Samuels' plane as it slowly starts to go down toward the trees.

 

POV THROUGH COCKPIT OF ILANA'S PLANE

 

Samuels' plane looms up, filling the windshield and it looks as though the planes are about to collide.

 

KURT

Holy Christ!

 

Ilana opens the throttle, and her plane zooms over Samuels' plane.

 

Rick and the civilians watch out the windows as Samuels' plane goes into a slow-motion dive into the jungle canopy.

 

INT. SAMUELS' PLANE

 

Samuels' is trying to bring the plane up, but it just won't respond.  He screams as the jungle rushes up at his windshield.

 

BACK TO RICK AND CIVILIANS

 

They watch as Samuels' plane flips up on its nose and then over on it's back.  There's an explosion as the fuel goes up, and a fireball rises in the jungle moonlight.

 

EXT. ILANA'S PLANE

 

The plane's engines rev higher and the aircraft banks away into the moon-bright sky.

 

INT. ILANA'S COCKPIT

 

Rick comes into the cockpit.

 

RICK

Looks like Samuels just fell off    the corporate ladder, hey mates?

 

KURT

Couldn't have happened to a sweeter        guy.

 

They're all silent for a moment.

 

RICK

What now?

 

KURT

We go back and tell everybody what       Westex is doing down here.  Show them the videotape.  Then it's        back to the academic grind until I      can get funding for a return    expedition to study this thing.

 

RICK

(incredulous)

I can't believe you're already planning to come back.  Don't be a wanker, mate.  Leave the thing alone!

 

KURT

I can't.  It's the find of a lifetime -- there's too much to learn.

 

RICK

(to Ilana)

What'd I tell you?  A bloody mad scientist.

 

ILANA

(to Kurt)

If I were you professor, I'd let somebody else come back here and study that thing.  Stay in class -- you might impress some girls with your stories.

 

Ilana gives Kurt a wicked smile.

 

KURT

(laughs; to Rick)

We are amazing, you know?

 

RICK

Yeah, we're bleedin' superheroes.

 

Just then the plane shudders and Kurt and Rick both look at Ilana.

 

KURT

What was that?

 

ILANA

I don't know.  Felt like something     hit us.

 

Screams come from the civilians in the cabin.

 

CIVILIAN

It's on the wing!  It's trying to get inside!

 

INT. PLANE'S CABIN

 

A creature is on the wing and is clawing and gouging at the fuselage.  Two civilians are standing up and looking for a weapon to force it back.

 

Rick rushes into the cabin with his pistol -- he leaves his rifle in the cockpit.  He gets there just as the creature's upper torso smashes through the hull.

 

Rick aims his pistol and pulls the trigger, but there is nothing but a few dry clicks.  The clip is empty.  He scans the cabin, frantic to find a weapon.

 

The creature forces its upper body through a splintered hole in the hull, and the two civilians jump back.

 

Desperate, Rick throws down his pistol and picks up his GUITAR, which is lying across a seat.  Grabbing it by the neck and without thinking, he shatters the guitar on the creature.

 

It is totally ineffective, of course, and fragments of the old Gibson going flying.  Undeterred, Rick then uses the guitar's broken neck, strings dangling, as a spear, stabbing at the creature's head.

 

This is more effective, but one of the creature's powerful python-like arms strikes out and knocks Rick through the air.

 

The creature rips an even larger hole into the cabin, and appears to be almost inside, which would mean certain death for most people, if not everyone, in the plane.

 

Suddenly, there's an EXPLOSION and the creature is blown backwards -- but it still clings with one claw to the hole in the cabin and it starts to force its way in again.

 

It's Kurt with a shotgun, but he's out of shells.  Then he sees one of his metal specimen cases on a seat where he'd left it earlier. 

 

He snaps it open and pulls out a jar of the poison arrow frogs.

 

He holds the jar in his hand, looks a the frogs, and hesitates a split second.  But then he runs SCREAMING at the creature, hurling the jar into its snapping maw.

 

The jar shatters and the thing chomps down on a mouthful of colorful, highly poisonous frogs.

 

A second later, the thing freezes as though struck on the head with a sledgehammer.

 

Kurt steps back as Rick watches from the floor.  The creature just falls backward and slides off the wing into the darkness.

 

BACK TO RICK AND KURT

 

Kurt helps Rick to his feet.

 

KURT

You okay?

 

Rick is holding his arm where the claw slashed him.

 

RICK

It's nothing

 

KURT

There might be a first aid kit up front.

 

RICK

(stunned)

The friggin' frogs saved our lives.

 

Kurt stares at him for a second, smiles and then gives a deep croak.

 

KURT

Rib-it!

 

Laughing, they both walk up the aisle.  One of the civilian's cheers, and the others join in.

 

As they walk by Rick's seat he reaches down and picks up his rather large pack.  It's obviously heavy.  The CAMERA follows them into the cockpit.

 

ILANA

You two look like you've been busy.

 

She reaches over and tenderly touches Kurt's arm.

 

RICK

Naw.  We just beat up another bloody monster and saved everyone's ass.  It was nothing, really.

 

Kurt motions for Rick to sit down in the co-pilot's chair.

 

Rick flops into the seat and drops his pack, which promptly spills open.  Several pounds of emeralds and gold nuggets tumble out.

 

Kurt and Ilana look astounded.

 

KURT

(to Rick)

You've had that all along?

 

RICK

I wasn't going to leave that hellhole empty-handed. 

 

Rick looks around at Ilana, then Kurt, and smiles.

 

RICK

Even split three ways, it's not a bad haul -- hey, mates?

 

Kurt, laughing, pulls his pack out and spills out more gold and emeralds.

 

Ilana now gets into the act, dumping her pack out on the deck -- more treasure.

 

BACK TO KURT

 

He stares at Ilana with surprise and then laughs and pulls her in for a kiss.

 

Rick watches Kurt and Ilana, sees they're oblivious, and with a shrug starts stuffing nuggets and jewels into his pockets.  

 

EXT. THE PLANE FLYING IN THE MOONLIGHT.

 

THE END