King Kong - 1933 Screenplay
Stacy Dohm:
K O N G
Changes 09/01/1932 - 09/06/1932
FADE IN on a composite glass shot over the Hoboken docks -
New York Skyline dimly seen in background. Snow. Sounds of
tugboat whistles. DISSOLVE TO -
Ship's side gangway slopes up out of picture.
Weston, a theatrical agent, comes along wharf, peering at
ship. He is fifty, heavy, slow, but with a shrewd eye. He
turns up his collar and shivers, stops and looks at ship
doubtfully.
An old watchman comes along wharf from opposite side,
swinging a lantern.
An old watchman comes along wharf from opposite side,
swinging a lantern.
WESTON
Hey, Is this the moving picture
ship?
WATCHMAN
The Venture? Yep.
(Weston starts for
gangway)
You going on this crazy voyage?
WESTON
(pausing)
What's crazy about it?
WATCHMAN
I dunno know, but I hear everybody
talkin' about this crazy feller
that's running it.
WESTON
Carl Denham?
WATCHMAN
Guess that's the name. They say he
ain't scare of nothin' - if he
wants a picture of a lion he walks
right up and tells it to look
pleasant.
WESTON
He's a tough egg, all right. But
why the talk about this voyage
being crazy?
WATCHMAN
Wal, there's talk around the docks
about the cargo for one thing. And
I never see a ship this size with
such a crew.
WESTON
Not enough men to handle her?
WATCHMAN
Not enough! The crew's three times
too big for the ship. I dunno know
where they find enough room to
sleep.
DRISCOLL
(from above deck)
Hey, there! What do you want?
WESTON
Denham aboard?
DRISCOLL
(comes down gangway into
picture)
Yes. Who are you?
WESTON
I want to see him. I'm Weston, the
agent.
DRISCOLL
Come aboard. Denham's getting wild.
Hope you have some good news for
him.
INT. CABIN - NIGHT
Denham and Englehorn talking.
ENGLEHORN
Well, Mr. Denham, you know the
reasons for hurrying as well as I
do. The insurance company has found
out we're carrying explosives, and
the Marshal will be aboard tomorrow
or next day.
DENHAM
I suppose if we make a legal case
of it, we'll be tied up for months.
ENGLEHORN
With ship's articles falsified and
ammunition enough aboard to blow up
the harbor?
(he takes a bomb from case
on floor)
And what do you think the Marshall
will say to these new gas-bombs?
According to you one of them is
powerful enough to knock out an
elephant.
DENHAM
(pacing up and down)
We've got to get to where we're
going before the monsoon starts.
ENGLEHORN
You can trust me to get you through
a blow, I hope.
DENHAM
Don't get sore, Skipper. But you
know what it means to hit the
tropical rainy season when we're
making an outdoor picture. Months
wasted, money gone, and nothing to
show for it.
ENGLEHORN
But still you always bring back a
picture and everyone says, "There
is only one Carl Denham."
Driscoll and Weston come in.
DENHAM
Weston! I was just going ashore to
ring you up.
WESTON
If I'd known that, I'd have waited.
DENHAM
Meet the Skipper.
(to Englehorn)
This is Weston, the theatrical
agent.
(they shake hands)
And this is Driscoll, the first
mate. Well, where's the girl,
Weston?
WESTON
It can't be done, Denham.
DENHAM
What? It's got to done.
(Weston shakes his head in
silence)
Look here, Weston. The Actor's
Equity and the Hays outfit have
interfered with every girl I've
tried to hire; now every agent in
town has shut down on me. All but
you. You know I'm square -
WESTON
Everybody knows you're square,
Denham but you've got a reputation
for recklessness that can't be
glossed over. And then you're so
secretive.
DRISCOLL
I'll say so.
ENGLEHORN
When even the skipper and the mate
don't know where they're going --
(he shrugs)
WESTON
There you are. I've got a
conscience, Denham. I can't send a
young, pretty girl, such as you
want, on a job like this without
telling her what to expect.
DENHAM
And what is she to expect?
WESTON
To go off for no one knows how
long, to some place you won't even
hint at, the only woman on a ship
with the toughest mugs I ever
looked at.
(they all laugh)
I mean the crew.
DENHAM
Good Lord, you'd think I never
brought anybody back alive! The
Skipper and Driscoll have stuck by
me on two trips. They seem healthy.
DRISCOLL
Sure we're healthy.
ENGLEHORN
But it's different taking a girl
into danger.
DENHAM
Oh, I suppose there's no danger in
New York? Why, there are dozens of
girls in this town tonight in more
danger than they'd ever see with
me.
DRISCOLL
(drily)
Sure. But they know that kind of
danger.
WESTON
You never had a woman in your other
pictures, why do you want one in
this?
DENHAM
(exploding)
Holy mackerel D'ye think I want to
haul a woman along?
WESTON
Then why - ?
DENHAM
Because the public - bless 'em -
must have a pretty face to look at.
WESTON
Everybody likes romance.
DENHAM
Isn't there any romance or
adventure in the world without a
flapper in it?
ENGLEHORN
Well, Mr. Denham, why not make a
picture in a monastery?
(they all laugh)
DENHAM
It makes me sore. I go out and
sweat blood to make a swell
picture, and then the exhibitors
and critics all say, "if this
picture had a love interest, it
would gross twice as much." All
right, the public wants a girl, and
this time I'll give 'em what they
want.
WESTON
(rising)
I don't know where you'll get her.
DENHAM
Weston, I've got to. We've got to
sail on the morning tide - we've
got to be out of here by daylight -
WESTON
Why?
DENHAM
Well - there's a good reason.
WESTON
Everything I hear makes me like
this thing less. I'm glad I didn't
get you a girl.
DENHAM
You are, eh? Well, I'll show you.
If you think I'm going to give up
just because you can't find a girl
with a backbone --
(he is struggling into his
overcoat)
-- I'm going to make the greatest
picture in the world, something
that's never been seen or dreamed
of. They'll have to invent some new
adjectives when I come back.
(he is at the door)
ENGLEHORN
Where are you going?
DENHAM
I'm going to bring back a girl for
my picture -- if I have to marry
one!
Stacy Dohm:
DISSOLVE TO Long Shot - Broadway at night - stock
CUT TO Denham walking along, scanning faces as he walks.
DISSOLVES of faces of women, Broadway types, bold,
indifferent, heavy, ugly - most of them heavily painted.
Rapidly passing, as though the camera were Denham looking
them over.
CUT TO Denham. He shakes his head disgustedly, stops, wheels
around and starts in another direction, as though he's given
up that part of town, and thought of another possibility.
DISSOLVE TO Exterior of a Woman's Mission. A bread-line
waiting. Camera moves slowly down the line of faces as
thought Denham were looking them over.
CUT TO Denham. He shrugs his shoulders in despair, turns
away.
DISSOLVE TO Exterior of one of those Small Wooden Stands you
see in the West Forties, a fruit-tobacco and candy shop just
big enough for the proprietor and one customer to get into, a
stand of fruit and peanut-roaster on sidewalk. Denham comes
along, takes out cigarette case, it's empty, he goes in to
buy some. We see through window that he is taking cigarettes
and paying the Greek proprietor.
Ann Darrow comes slowly into picture; she hesitates, her hand
goes stealthily toward a piece of fruit.
She is fingering it when the Greek dashes out and seizes her.
She tries to pull her arm away. Denham comes out of shop.
GREEK
(very excited)
Ah-ha! I catch you, you stealer! I
catch the cop - you like that, ha!
ANN
(she keeps her head bent,
struggling weakly to pull
away)
No-no, I didn't. Please let me go.
I wanted to, but I didn't.
GREEK
I had enough dese stealers --
DENHAM
Oh, dry up. The kid didn't take
anything.
ANN
I didn't, truly I didn't.
DENHAM
So, shut up, Socrates. Here's a
dollar. Forget it.
The Greek takes the money and releases Ann who stumbles back
against Denham. He catches her round the shoulders and she
half-collapses. Her head falls back on his arm. He has his
first sight of her face.
CLOSE UP Ann, her eyes open as she looks up at Denham,
terrified.
MEDIUM SHOT - Denham, holding Ann. He looks at her. Suddenly
his face lights up, he snaps his fingers triumphantly.
DENHAM
(looking up the street)
Hi! Taxi!
DISSOLVE TO a one-armed lunch room. Tiled wall, two chairs.
Ann has emptied plate and coffee mug on arm of her chair.
Denham in other chair watching her. She sighs happily over
having satisfied her hunger, and leans back.
DENHAM
Feeling better?
ANN
Yes, thank you. You're very kind.
DENHAM
Don't fool yourself. I'm not
bothering with you just out of
kindness.
(Ann opens her eyes wide,
half-puzzled, half
afraid)
How come you're in this fix?
ANN
Bad luck I guess. There are lots of
girls just like me.
DENHAM
There aren't such a lot who've got
your looks.
ANN
(laughing it off)
Oh, I can get by in good clothes.
But when a girl gets too shabby --
DENHAM
No family?
ANN
I'm supposed to have an uncle
somewhere.
DENHAM
Ever do any acting?
ANN
I used to do some extra jobs over
at Fort Lee sometimes. Once I got a
real part. The studio is shut down
now.
DENHAM
What's you name?
ANN
Ann Darrow.
DENHAM
Are you one of these city gals who
screams at a mouse and faints at a
snake?
ANN
(laughing)
No, of course not. I'm a country
gal - or used to be.
DENHAM
Listen, sister. I've got a job for
you. The costumes I've got on board
will fit you.
(looks at his watch)
The Broadway shops will still be
open. I'll get you some clothes for
yourself. Come on.
ANN
But - but what is it?
DENHAM
(excited)
It's money, and adventure, and
fame.
It's the thrill of a lifetime. And
a long sea-voyage that starts at
six tomorrow morning.
ANN
No! Wait, I can't - I don't
understand - you must tell me - I
do want the job so - I was starving
- but I can't -
Denham has been looking at her, puzzled because she hasn't
caught his frantic excitement. He suddenly sees what is
troubling her. He calms down and goes back and sits.
DENHAM
Oh, I see. You got me wrong. Nix,
sister, nix. This is strictly
business. I'm no chaser.
ANN
(meekly)
I only wanted to -
DENHAM
Sure. Sure you did. I dot excited
and forgot you didn't understand
it. Listen, I'm Carl Denham. Ever
hear of me?
ANN
Ye-es. Yes. You make moving
pictures. In jungles and places.
DENHAM
That's right. And I've picked you
for the lead in my next picture. We
sail at six.
ANN
Where to?
DENHAM
A long way from here. Think, Ann, a
long voyage, easy living, the warm
blue sea, moonlight on the water -
isn't that better than tramping New
York trying to keep out of the
gutter.
ANN
(almost whispers)
Oh, yes.
DENHAM
I'm square, Ann. And I'll be square
with you. No funny business.
ANN
What do I have to go?
DENHAM
(leaning over her chair
and looking straight at
her)
Trust me. And keep your chin up.
Ann looks at him for a moment, then he holds out his hand.
She takes it and they shake. FADE OUT.
Stacy Dohm:
FADE IN - deck of ship at dawn, getting under way. Crew busy
casting off lines, moving stuff on deck. A tug is puffing
alongside. Driscoll on fo'c'sle head directing.
MEDIUM SHOT - Ann in same dress, but wearing a heavy loose
coat Denham has bought her. She climbs to fo'c'sle head,
watching this strange new world.
Driscoll backs into scene without seeing her. He is shouting
at a sailor.
DRISCOLL
Carry that line aft! Aft, you
farmer! Back there!
He swings his arm round behind him in a violent full-armed
gesture and hits Ann in the face. She staggers back against
the rail and nearly falls.
DRISCOLL
(turning)
Who the -- What are you going up
here?
ANN
(meekly, hand to her face)
I just wanted to see!
DRISCOLL
(gruffly)
Well, I'm sorry. You're the girl
Denham found at the last minute,
aren't you?
ANN
Yes. I'm - I'm awfully excited.
It's all so strange, and I've never
been on a ship before.
DRISCOLL
And I've never been on a ship with
a woman before.
ANN
I guess you don't think much of
women on ships, do you?
DRISCOLL
No. They're a ****-eyed nuisance.
ANN
I'll try not to be.
DRISCOLL
You got in the way already. Better
stay below.
ANN
What! The whole voyage!
(she smiles at him)
DRISCOLL
(hesitates, then says in a
softened tone -)
Say, I didn't apologize very good
for hitting you. That was an awful
sock in the jaw.
Driscoll stares at her doubtfully, she looks up and meets his
gaze. Their eyes hold for a moment, then two short toots from
a tug alongside, answered by one blast from the ship.
DRISCOLL
Well, we're off.
ANN
(clasping her hands and
peering into the mist)
We're off.
DISSOLVE TO - Long shot - Miniature ship at sea - DAY
DISSOLVE TO - The deck of the ship at sea. A calm tropical
afternoon. Ann and Charley, the Chinese cook, at rail.
Charley with enormous tub of potatoes, peeling them. Ann
making an intricate knot with a bit of rope's end, fooling
with it as she talks.
ANN
Charley, how many potatoes do you
suppose you've peeled since we left
New York six weeks ago?
CHARLEY
Too many.
ANN
Sailors eat an awful lot, don't
they?
CHARLEY
All time eat. No can fill up. Some
day my go back to China, never see
no more potato.
Ann finishes the knot and tugs at it.
ANN
There. That's fourteen knots I've
learned to tie.
CHARLEY
Pretty soon now you be same sailor.
Only don't eat so much.
ANN
(laughs, then looks around
with a contented sigh)
I'd like to be a sailor. Isn't the
sea wonderful!
CHARLEY
(drily)
Oh yes, very pretty.
ANN
Of course it wasn't so nice up
north when it was cold and rough.
CHARLEY
Ocean very fine when you order
weather how you like all same like
eggs for breakfast.
Driscoll strolls in. Charley gets up and moves away.
DRISCOLL
Hello, Ann.
ANN
Hello, Jack.
DRISCOLL
Where have you been all morning?
ANN
Trying on costumes for Mr. Denham.
He's going to make some tests of me
this afternoon, here on deck, when
the light's right.
DRISCOLL
Tests? Why?
ANN
Oh - to see which side of my face
looks best - and all that.
DRISCOLL
(very gruff)
Both sides looks all right to me.
ANN
(laughs)
Yes, but you're not the movie
director.
DRISCOLL
If I was, you wouldn't be here.
ANN
Well, that's a nice thing to say.
DRISCOLL
It's no place for a girl.
ANN
(indignantly)
I wish you wouldn't keep harping on
that. It's very mean of you.
Anybody'd think I'd been a lot of
trouble.
Driscoll grunts.
ANN
(very cross)
I haven't! You can't say I've been
one bit of trouble to anyone.
Driscoll is silent.
ANN
(looks at him, waits, then
anxiously)
Have I?
DRISCOLL
Sure you have.
ANN
I don't see - Well, how?
DRISCOLL
Just your being here's a trouble.
ANN
(mournfully)
Oh dead. I thought everything was
going to nicely.
Driscoll looks at her downcast expression, wiggles
uncomfortably and at last blurts an attempt at consolation.
DRISCOLL
Aw, you're swell. Women can't help
being a bother. I guess they're
made that way.
Oddly enough, this doesn't cheer her up very much. But she
draws a long breath and smiles.
ANN
Well, anyhow, I've had the happiest
time of my life on this old ship.
Driscoll is a little touched by this. He gives her a quick
look and says awkwardly -
DRISCOLL
Why - that's fine.
A little pause. Driscoll thinks it over.
DRISCOLL
D'ye really mean that, Ann?
ANN
Of course. Everyone's so nice to me
- Mr. Denham and the Skipper -
Don't you think the Skipper is a
sweet old lamb?
DRISCOLL
(grinning)
I'd hate to have him hear me say
so.
Ann laughs and picks up Ignatz, the monkey, who cuddles down
in her lap contentedly.
ANN
Ignatz is nice to me too. He likes
me better than he does anyone else
on board, don't you Iggy?
Denham approaches them.
DENHAM
Beauty and the Beast.
DRISCOLL
Well, I never thought I was
handsome, but -
(they all laugh)
DENHAM
Go put on a costume, Ann. Light's
good for those tests now.
ANN
I won't be a minute, Mr. Denham.
She puts down Ignatz and goes. Denham scratches Ignatz' head,
watches him for moment.
DENHAM
(half aloud)
Beauty and the Beast.
DRISCOLL
Mr. Denham, I've going to do some
butting-in.
DENHAM
What's your trouble, Driscoll?
DRISCOLL
When do we find out where we're
going?
DENHAM
(smiling)
Pretty soon now.
DRISCOLL
Are you going to tell us what
happens when we get there?
DENHAM
How can I? I'm no fortune-teller.
DRISCOLL
But hang it, you must have some
idea what you're after.
DENHAM
Going soft on me, Jack?
DRISCOLL
You know I'm not for myself. But
Ann --
DENHAM
Oh you've gone soft on her? I've
got enough on my hands without a
love affair to complicate things.
Better cut it out, Jack
DRISCOLL
(sullenly)
Love affair! You think I'm going to
fall for any dams?
DENHAM
(musing)
It never fails. Some big hard
boiled egg goes goofy over a pretty
face, and bingo! He cracks up and
gets sappy.
DRISCOLL
(angry)
Who's getting sappy? I haven't run
out on you, have I?
DENHAM
Nope. You're a good tough guy,
Jack. But if beauty gets you --
(he stops, then laughs a
little)
Why, I'm going right into a theme
song!
DRISCOLL
(sulky)
What are you talking about?
DENHAM
It's the idea for my picture. The
Beast was a tough guy, Jack. He
could lick the world. But when he
saw Beauty, she got him. He went
soft, he forgot his wisdom, and the
little fellers licked him. Think it
over, Jack.
SAILOR
(coming up)
Mr. Denham, the Skipper says will
you please come up on the bridge?
We've reached the position you
marked, he says.
DENHAM
Come on, Jack. You're in on this.
I'm going to spill it.
Stacy Dohm:
DISSOLVE TO bridge. Englehorn leaning over chart; Denham and
Driscoll across table.
ENGLEHORN
(pointing with dividers)
Here's your noon position. 2 South,
90 East; you promised me some
information when we reached these
latitudes.
DENHAM
(looking at chart)
'Way west of Sumatra.
ENGLEHORN
And way out of any waters I know. I
know the East Indies like my own
hand, but I was never here.
DRISCOLL
(eagerly)
Where do we go from here?
DENHAM
South-West.
ENGLEHORN
South-West! But there is nothing -
nothing for thousands of miles.
What about food? So many in the
crew makes the food melt away. And
water? And coal?
DENHAM
Take it easy, Skipper. We're not
going thousands of miles.
(he takes a wallet from
his breast pocket and
very carefully opens two
pieces of paper - spreads
over on table before
Englehorn)
That's the island we're looking
for.
ENGLEHORN
The position --
(he leans down,
straightens up)
I'll get the big chart.
DENHAM
You won't find that island on any
chart. That one there was made up
by the skipper of a Norwegian
Barque.
DRISCOLL
He was kidding.
DENHAM
No. Listen. A canoe with natives
from this island was blown out to
sea. When the barque picked them
up, there was only one alive. He
died before they reached port, but
not before the skipper had pieced
together a description of the
island and got a fairly good idea
of where it lies.
DRISCOLL
Where did you get hold of it?
DENHAM
Two years ago, in Singapore, going
home from my last trip. I've known
that skipper for years. He knew I'd
be interested.
ENGLEHORN
Does he believe it himself?
DENHAM
I don't know. But I do. See, here's
what the island looks like.
He unfolds second piece of paper.
INSERT crude sketch of island, Denham's hand pointing to
various features. Float Denham's voice.
DENHAM (V.O.)
Here's a long sandy peninsula. The
only possible landing place is
through this reef. The rest of the
shore-line is sheer precipice,
hundreds of feet high. And across
the base of that peninsula, cutting
it off from the rest of the island,
is a wall.
CUT TO Med. Shot - Denham, Driscoll, Englehorn. They stare at
Denham.
ENGLEHORN
A wall?
DENHAM
Built so long ago that the people
who live there now have slipped
back, forgotten the high
civilization that built it. But
it's as strong today as it was
centuries ago. The natives keep
that wall in repair. They need it.
DRISCOLL
Why?
DENHAM
There's something on the other side
- something they fear.
ENGLEHORN
A hostile tribe.
DENHAM
(drawing a long breath)
Did you ever hear of -- KONG?
ENGLEHORN
(thinking)
Why -- yes. Some Malay
superstition. A god or a spirit or
something.
DENHAM
Anyway, neither beast nor man.
Monstrous, all-powerful -- still
living, still holding that island
in the grip of deadly fear.
Englehorn and Driscoll look skeptical.
DENHAM
Every legend has a basis of truth.
I tell you there's something on
that island that no white man has
ever seen.
ENGLEHORN
And you expect to photograph it?
DENHAM
If it's there, you bet I'll
photograph it.
DRISCOLL
(very skeptical)
Suppose it doesn't like having it's
picture taken?
DENHAM
Well, now you know why I brought
those cases of gas-bombs.
Driscoll and Englehorn stare at Denham, then look at each
other. Englehorn shrugs, reaches for the homemade chart.
DISSOLVE TO- Exterior forward deck of ship - Day. Denham has
camera set up. Ann comes in, in Beauty and Beast costume.
DENHAM
Oh, you picked out the Beauty and
the Beast costume!
ANN
It's the prettiest.
DENHAM
All right. Stand over there.
ANN
I'm sort of nervous. Suppose I
don't photograph well?
DENHAM
(busy with camera)
Don't let that worry you.
If I hadn't been sure of that, I
wouldn't have brought you half way
round the world.
ANN
What shall I do?
DENHAM
(squints through the
viewfinder, throws camera
over and locks it)
Now when I start cranking hold it a
minute, then turn slowly toward me.
Look at me, look surprised, then
smile a little, listen and then
laugh. All right, camera.
She does as he has said.
CUT TO fo'c'sle head, several members of crew peering out,
watching with great interest. Charley among them.
1ST SAILOR
Looks kinda silly, don't it?
2ND SAILOR
She's sure a pretty dame.
CHARLEY
You think maybe he like take my
picture, huh?
1ST SAILOR
Them camera cost money. Shouldn't
think he'd risk it.
CUT TO Denham and Ann
DENHAM
That was fine. I'm going to try a
filter on this one.
(he fusses around,
changing lens, etc.)
ANN
Do you always take the pictures
yourself?
DENHAM
Ever since a trip I made to Africa.
I'd have got a swell picture of a
charging rhino, but the cameraman
got scared. The damned fool. I was
right there with a rifle.
Seemed he didn't trust me to get
the rhino before it got him. I
haven't fooled with cameramen
since. Do the trick myself.
CUT TO the bridge. Englehorn and Driscoll leaning over,
watching Ann and Denham.
DRISCOLL
Think he's crazy, Skipper?
ENGLEHORN
Just enthusiastic!
DRISCOLL
But this yarn about unknown islands
and monstrous gods --
ENGLEHORN
He pays us well to take him where
he wants to go. If the island
exists, we will find it.
CUT TO Denham and Ann.
DENHAM
Now Ann, stand there. Look down.
When I start to crank, look up
slowly. You're quite calm, don't
expect to see anything. Follow my
directions. All right -- camera.
He cranks. He gets more excited through this scene, trying to
force her to feel the emotions he wants.
DENHAM
Now -- look up. Slowly. You see
nothing yet. Look higher. Still
higher. That's it. Now you see it.
You're amazed. You can't believe
it. Your eyes open wider. It's
horrible, but you can't look away.
What is it Ann? What can you do?
No chances for you, no escape.
Helpless, Ann, you're helpless. One
chance -- if you can scream. Your
throat's paralyzed. Try to scream,
Ann. Try. If you didn't see,
perhaps you could scream. Throw you
arms across your eyes, and scream,
Ann, scream for your life!
She has followed his directions.
CUT TO bridge. Driscoll and Englehorn, watching Denham and
Ann. Ann's scream floats.
DRISCOLL
(grasping Englehorn's arm)
What's he think she's really going
to see?
DISSOLVE OUT
Stacy Dohm:
FADE IN, bridge in fog, outside wheel-house. Denham, Ann,
Driscoll, Englehorn, at rail peering ahead. Through this
dialogue intercut shots of look-out in bow, man in crows
nest, sailor heaving lead, and sailors clustered at bulwarks
on main deck, watching for island.
DENHAM
This infernal fog! Sure of your
position, Skipper?
ENGLEHORN
(very nervous, but
offended at suggestion)
Of course. Last night, before the
fog shut down, I got a good sight.
DENHAM
We must be near the island.
DRISCOLL
If we don't see it when this fog
lifts we never shall. We've
quartered these parts.
CUT TO sailor with lead. He lets go, line runs through his
hand.
SAILOR
No bottom at 30 fathoms!
CUT TO bridge as before.
DRISCOLL
(nervous)
Of course that Norwegian skipper
was guessing at the position.
ANN
How will we know it's the right
island?
DENHAM
(very tense, answering
mechanically)
The mountain that looks like a
skull.
ANN
Yes. I'd forgotten. You told me
that. Skull Mountain.
SAILOR'S VOICE
Bottom! 20 fathoms!
ENGLEHORN
Shallowing fast, Driscoll, dead
slow.
Driscoll goes to telegraph, sounds of bells to engine-room
and reply.
DENHAM
Curse the fog!
SAILOR'S VOICE
Sixteen fathoms!
DENHAM
What does she draw, Skipper?
ENGLEHORN
Six.
No one ever looks at person addressed. All eyes ahead,
straining through fog.
DRISCOLL
Listen! Hear anything?
DENHAM
No.
ANN
No.
There is a slight pause.
MAN IN CROWS NEST
Breakers ahead!
Englehorn jumps for telegraph.
SAILOR'S VOICE
Ten fathoms!
Jingle of telegraph, noise of reversing engines.
DRISCOLL
(bellowing at fo'c'sle)
Let go!
Rattle of anchor chain through hawse-pipe, splash of anchor,
more jingle of telegraph. After noise dies down, Driscoll
speaks:
DRISCOLL
That's not breakers. That's drums.
A long distant mutter of drums rolling. DISSOLVE TO:
Boats being lowered, Bos'n giving orders.
CUT TO bridge, Englehorn with binocular. Denham, Ann and
Driscoll.
DENHAM
Well, Skipper, see anybody?
ENGLEHORN
Not a living thing. I think there
are more houses in the thick bush.
DENHAM
Funny they haven't spotted us. I
think the whole population would be
on the beach.
ENGLEHORN
Listen.
The faint throbbing of drums.
DENHAM
Maybe they have seen us and are
signalling. Well, Skipper, do you
believe me now? There's Skull
Mountain, the wall - everything
just like my funny map. Come on,
let's get started.
ENGLEHORN
Twelve men go with you. The rest
stay aboard.
DENHAM
Who's in charge of the gas bombs?
ENGLEHORN
Jimmy. That young feller.
(points down on deck)
DENHAM
Good. Leave the 2nd Mate aboard,
Skipper. I need you, you may be
able to talk to these birds ashore.
ANN
I'm going ashore with you, aren't
I?
DENHAM
You bet.
DRISCOLL
She ought not to go till we find
out what goes on --
DENHAM
(good-naturedly)
Say, who's running this show? I've
learned by experience to keep my
cast and my cameras right with me.
You never can tell when you'll want
'em.
DRISCOLL
But it's crazy to risk --
DENHAM
Oh, go on, Jack. Get busy. Deal out
the rifles and ammunition. And pick
me a couple of huskies to carry my
stuff.
Driscoll goes reluctantly. Denham shakes his head over him,
then Ann.
DENHAM
Bring the costume box. We might get
a swell shot right away if we're
lucky.
DISSOLVE TO shot of beach, boats approaching. Village and
wall glassed.
DISSOLVE TO shot from beach, showing loaded boats
approaching.
Drums louder, of course.
CUT TO boats beaching, people getting out, uploading stuff.
Denham puts camera on tripod, one sailor shoulders it,
another with magazine case, third with costume box, fourth
and fifth with trade-goods in boxes. Jimmy with case of
bombs.
DENHAM
You fellers with the camera stay
close to me. Where's Jimmy with the
bombs?
JIMMY
Here, sir.
DENHAM
All right. Stick around. And watch
your step. There's enough
trichloride in that case to put a
herd of hippos to sleep.
JIMMY
Aye Aye, sir.
ANN
What queer-looking boats.
DRISCOLL
Outrigger canoes.
ENGLEHORN
Driscoll, have two men stay with
the boat.
DRISCOLL
All attended to, sir.
DENHAM
(grinning)
Now, all set? Ready, Skipper?
ENGLEHORN
(coming up)
Ready.
They start up the beach.
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