CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

THE WRITING OF THE SCREENPLAY

"THE WRECK OF THE ADMIRAL NAKHIMOV"

A graduate project submitted in partial satisfaction of the requirements for the degree of Master of Arts in

Mass Communication

by

Steven David Klitzing

August 1988 • The graduate project of Steven David Klitzing is approved:

:1arence Flick

Dr. Alan Armer,

California State University, Northridge

ii TABLE OF CONTENTS

ABSTRACT vii

INTRODUCTION 1 CHAPTER

1. The Educational Phase 4

Internship at a Literary Agency 4

Internship at a Production Company 5

Upper Division coursework 6

Graduate Coursework 9 The Author Takes Time Out 12

The Value of English Courses 13

Decision to Complete the M.A. 16

Writing the Proposal 16

The Master's Project 17

Committee Members Found 19 2. Research Methodology and Findings 21 How the Research Process Was Organized 21 Book Research 22 Periodical Research 24 Tom Clancy's Influence: Fiction Research 26 Reference Materials 27 KGB Research 29

iii Russia 31

Spy Research 32

Ship, Salvage and Maritime Research 38

Treasure Research 39

Ship and Maritime Technology 40

Underwater Technology and Diving 42

Interviews: Radars, Electronics and Jamming 43

3. The Film Review Phase 54

Raiders of the Lost Ark 55

Temple of Doom and Tron 55

King Solomon's Mines 55

Allan Quartermain and the Lost City of Gold 56

Firewalker 56

Treasure of the Yankee Zephyr 57

Moby Dick 57

Sink the Bismarck 57

High Road to China 58

Under Ten Flags 59

20,000 Leagues Under the Sea 59

Mysterious Island 59

The Poseidon Adventure 60

Captain Blood 60

Das Boot 60

Run Silent, Run Deep 61

The Maltese Falcon 62

To Have and Have Not 62

Key Largo 63

iv Witness 63 Salvador 64 Deadline 65 The Year of Living Dangerously 66 The African Queen 67 Romancing the Stone 69 Crocodile Dundee 70 Elements of These Films Used in the Script 71

4. The Writing Process 72

The Inspirational Phase 72

The Outline Phase 72 The Treatment 73

Character Studies and Backstories 74 The First Draft Screenplay 76

BIBLIOGRAPHY 78 APPENDIX

A. Outline 82

B. Story Treatment 83 c. Character Studies 121 Rick Hogan 122 Kettie Boyd 133 Colonel Slava 144 Thor Bergen 155 Misha Orlov 160 Professor Zucharski 165 Mr. Boyd 169 Vasili Krivda 173

v The Chauffeur; Bodyguards 177

Yuri Titov; Captain Atarov; Assassin 178

Soviet Assault Troops; Norwegian Crew 179

D. Autobiographical Backstories 180

Rick Hogan 181

Kettie Boyd 192

Colonel Slava 200

E. The Script for the Screenplay 208 TABLE 1. Critical Path Analysis Chart (Planned) 356

2. Critical Path Analysis Chart (as Completed) 357 FIGURE

1 - 6. Diving Outfits and Equipment 358

7 - 12. Underwater Technology 359

13 - 20. Weaponry 360

21 - 26. Aerospace and Maritime Vehicles 361

27 - 31. Ship, Map and Mascot 362

. ~ vi ABSTRACT

THE WRITING OF THE SCREENPLAY

"THE WRECK OF THE ADMIRAL NAKHIMOV"

by

Steven David Klitzing

Master of Arts in Mass Communication

In May, 1905 the major naval battle in the war between

Russia and Japan took place. It was nearly a total disaster for the Russian fleet, and one of the really significant losses was the czar's cruiser Admiral Nakhimov and the secret treasure she carried to her grave on the ocean floor.

A major effort was undertaken to create a screenplay built upon this happening. To do so, extensive research was conducted into the historical details of the loss of the ship and into everything on which one must be knowledgeable in order to develop a credible story of search and salvage at sea. The details of this research are covered in the

Methodology section of this project.

The results of the research have been used in support of a story which really begins when the "cat is let out of

vii the bag" a full two generations after the sinking. The secret of the treasure is discovered and this vital and fascinating information has come into the hands of a pair of unlikely American adventurers. But other, more sinister forces also have at least part of this knowledge. There follows a tale of adventure, danger and violence as three hostile groups converge on the presumed site of the treasure.

It develops that the secret is not so much in where the wreck is located, but in how much gold and platinum is on board and, especially, how the Czar's operatives were able to mask and hide it so that it would escape discovery for so long. The screenplay ultimately answers these and several other questions and culminates in a climactic encounter which determines whether, how, and by whom the treasure is actually retrieved.

viii INTRODUCTION

"The Wreck of The Admiral Nakhimov" was conceived as a screenplay to fulfill a graduate project requirement for the Master of Arts program in the Mass Communications Department at California State University, Northridge. "The Wreck of The Admiral Nakhimov" is a story of high level intrigue and governmental secrecy. It is a story of greed, cruelty and deceit. And it is a story of courage, resourcefulness, loyalty and love. It is an adventure story. The tale has its roots in actual historical truth. The Battle of Tsushima Strait really did take place. The czarist Russian cruiser "Admiral Nakhimov" really was lost in that great battle. The ship really was carrying billions in gold and platinum when it sank. The old Russian admiral, the only person in the fleet who knew the secrets of this great treasure, really did die of a stroke before he could carry out the Czar's orders regarding its disposition. But the remainder of the story, built on these real events, is fiction. It is the story of Rick Hogan, a "leave me alone" and "live and let live" sort of man who scratches out a living at sea running his own interisland delivery service in the South Pacific. It is the story of Kettie Boyd, a well educated, attractive, independent young woman doing free lance photographic work in the islands. It is the story of

1 Colonel Gregori Slava, one of the "bad guys," a sadistic, hard driven and resourceful KGB agent who is bound and

determined to recover the Nakhimov treasure on his own. It

is the story of Thor Bergen, the strong-willed and brave

Norwegian friend of Rick's, who provides much of the

organizational and material resources for the "good guys" on their treasure hunt.

And it is the story of how these principal characters

and others, all focused on the same goal, finally converge

on the treasure area in Tshushima Strait, and the conflict and competition, courage and sacrifice, which follow.

"The Wreck of The Admiral Nakhimov," as told here, is divided into three principal sections. First, there is

the treatment section, an outline of the story from start

to finish. It sketches the chronology and high points, and

provides a comprehensive overview of what the story is all

about. Next come the character studies and biographical backstories, providing extensive background information on the make-up of the principal personalities; who they are, what they are, where they are from, and how they view themselves. Finally, the screenplay itself. This section depicts, in detail, all the action, scenery, attitudes, thoughts and dialogue necessary to the story.

It is the actors' and director's script.

The script was written last. Thus, it reflects certain changes recommended by the author's advisors and numerous adjustments made during the "tune-up" period

2 between the writing of the treatment and the writing of the script. But the overall theme remains unaltered. It is still the same story.

And now, to these introductory remarks, there remains only to be added that the people, events and some of th.e places depicted herein are fictitious, and any resemblance to actual people, places and events is purely coincidental.

3 CHAPTER 1

The Educational Phase

In the Fall of 1981, the author entered the Master's program at Cal State Northridge. During the course of his initial studies, from 1981 to 1983, he served two internships; one as a reader for a literary agency and one as a readerjresearch assistant for a minor production company. Lessons learned from these internships would later have valuable consequences.

Internship at a Literary Agency

By reading screenplays for literary agents, the writer soon learned what a bad screenplay looked like. He was told to move on if it didn't do anything in the first 20 pages. Most of the screenplays were muddled and didn't do anything. That was because most of the writers didn't have a story to tell or didn't know how to tell it. on a more encouraging note, he learned that a well-written screenplay attracted attention because it stood head and shoulders above 95% of the competition. The two literary agents were women and had already spotted what looked like a good prospect. It was discovered very soon why it had attracted attention above all the others. It had a few strong characters, though a weak story. It had a

4 strong male-female love story relationship driving it. It

was also low budget.

Internship at a Production Company

In the second internship, the writer learned a few

more lessons. The production company was staffed mostly

by women. The producer was a man. It was the function

of the women associates to weed out the bad stuff and

bring him only the properties which looked like they could

be developed. The women read newspapers and magazines

in search of marketable ideas. They also read best sellers

and kept track of Broadway plays to find useable

properties. By watching their research, the writer saw

that ideas and information came from newspapers and

periodicals. Sometimes, he was sent to old newspaper

stacks at the Main Library. Once, he visited the

L.A. Times building to retrieve information on older

stories.

The workers at the production company also reviewed

new and old films. Being on the studio lot, they were

invited to view a different recent movie every week, free

of charge. This allowed them to stay abreast of current

films in the industry. They sometimes requested and

viewed older, usually unsuccessful, movies that had been

long forgotten. Their attempts to utilize old unsuccessful

storylines usually went nowhere.

At this time, the resource called the video store was

just coming into being and was still expensive. Video

5 ' " tapes were then renting for about six to nine dollars per night and the selection was poor. The producer provided the author with two major insights. First, a movie without relationships, no matter how high the budget or how fantastic the special effects, will usually not make money. The key to stories is the driving relationships behind them. Second, people who go to the movies want to see a successful male-female romance. But the romance can't be too predictable. The characters must be interesting and the story must not be too expensive to produce. Scripts which did not pay heed to these simple principles usually ended up in a dusty shelf or closet. Thus, the author learned a little more about the process of research and story development. With his internship experience over, he moved on to other studies. Upper Division Coursework Before he could take the graduate level Master's courses, the author was required to reinforce his B.A. degree with five upper division undergraduate courses. He took Journalism 465, RTVF 310, RTVF 401, RTVF 464 and RTVF 480. The writer found these upper division courses to be an effective preparation for the graduate courses he would take during the following semester. It was now the Fall of 1981.

cl 6 Journalism 465: Mass Communication and Popular Culture

This course was designed to have the student analyze popular culture in terms of content and effects on the mainstream population of society. This was a good course for writers. It provided insight into the art of mass media selling and the design of popular stories. It showed how the work of each new generation of storytellers, songwriters and artists is based upon the work of past artists and cultures. This was an eye-opener for the writer. This course made the author aware that new stories and mass media art were based heavily on older works.

Basically, this was a course about how the masses are manipulated by pop culture and art for the sake of profit.

The student was expected to think and learn how to link past with present. As the old saying goes, " •.• You can't know where you're going unless you know where you've been."

RTVF 310: History of American Cinema

This highly entertaining class dealt with American cinema entertainment. This class was of value to the author since it dealt with film aesthetics, genres and directorial styles of the American movie. The representative films were well-chosen examples of u.s. film history. This class tended to stress the film noir genre in entertainment with examples directed by Howard

Hawks, Alfred Hitchcock and John Huston. Perhaps the most impressive film in the class was a little-known thriller

7 by Hitchcock entitled Foreign Correspondent. This film alone impressed and inspired the author. Those wishing to write action/adventure thrillers should see it. The exposure to film noir had a significant impact on the writer and his project.

RTVF 401: Mass Communications Research

This course provided a basic "how-to" look at the process of research. It offered an overview of research methodology systems in Mass Communications. It was a "get your feet wet" type of class which paved the for further research studies.

RTVF 464: Principles of Mediated Instruction

This interesting class taught how to plan, develop, and design instructional programs. The author learned how to put together a multi-projector instructional slide show.

Still photography skills were stressed and utilized.

Working in groups was a must. Great value was derived from the cooperative learning process of doing the projects. This course taught the logic and structure needed to produce instructional media programming. Another advantage of this course was its field trip component.

Members of the class went on several field trips during the semester. The field trips provided the student with an eye-opening view of innovations in the media and its technology. The author went to one of the first personal computer exhibitions. He also attended an Instructional

Media convention, a telecommunications trade show and a

8 Sony seminar in video breakthroughs. Within a few short years, most of the innovative technology to which the author had been introduced became commonplace or had been surpassed by new technologies. RTVF 480: Radio-TV Programming/Operations This class studied the operations and business problems of TV and radio stations. Students were given case studies or problems to solve concerning the media. Emphasis was placed on developing solutions to media problems. Laundry lists (lists of things without explanation) were discouraged while descriptive, logical and fresh solutions to problems were stressed. The key was to provide management with options to aid in decision-making. Graduate Coursework In the Spring of 1982, the author began his work in the Mass Communications Graduate program. He took three courses; Mass Comm 502, Mass Comm 522 and Mass Comm 595-F. All were beneficial courses. In most of the courses taken by the writer, research was heavily stressed. He learned the hard way that improper or inadequate research could have serious implications later on. He found it necessary to take some kind of research methodology coursework. Mass Comm 502: Seminar in Research Methods This was a nuts and bolts heavy-duty research course. This Mass Communications research course was helpful and well-structured but it tended to be very heavy in

9 statistical analysis. The class seemed to be intended for the aspiring poll-developer, research analyst or media information officer. It was a different kind of research than writers are used to doing. Thus, the author later decided to retake the course under the Journalism department offering. That course will be discussed later. The Mass Comm 502 course demanded that the student back up every paper with numbers. Numbers were heavily stressed because this is the way one supports decisions in the corporate world. Pure historical research and journalistic research are worlds apart from this kind of discipline. Mass Comm 522: Department Colloquium This course offered a wide variety of fascinating and interesting speakers and subjects. The emphasis was on contemorary issues in the media. Subject matter included logical media design, computers and their use in the media, studies in film and technological innovations. One speaker even showed examples of video-assisted film production using outtakes of Harrison Ford from Blade Runner. One of the most valuable segments of this class was the study of the novel The Postman Always Rings Twice; comparing it with the 1940's film and the 1980's movie version. Here, the author learned how the novel changed when it was first produced into a film and how it changed when it was remade into the Jack Nicholson version. This class basically had something for everybody and

10 exposed students to a wide variety of media disciplines which they would not have otherwise experienced in one course.

Mass Comm 595-F: Studies in Mass Communication - Film

This course exposed the author to film criticism, history, style and technique. It was a good class for aspiring film writers and directors. Older early Hollywood film styles were reviewed. Many foreign films were also studied. Most of the films tended to be unusual or artistically-oriented; a far cry from standard modern day

American cinema. This exposure to "different" film styles, genres and techniques was beneficial. The course required a scholarly and reverent approach to subject matter. It was useful in teaching the author the visual language of the cinema.

In the Fall of 1982, the author took two Graduate

Mass Communications courses; Mass Comm 532 and Mass Comm

500. He took the Mass Comm 500 course as a replacement for the Mass Comm 502 course. Mass Comm 500 was offered in the Journalism department and was geared more for the journalist or writer.

Mass Comm 500: Seminar in Research Methods

The author took this course and discovered that it taught research methods geared more for the fiction writer or journalist than the analyst. In the author's view, this research course tended to be less heavy in numerical

11 emphasis. It was here that the writer learned how to dig

through the library indexes for literary and historical

information. For his main project, the author chose to

do a study of news reporting during the Falkland Islands

War of 1982. This study would have positive effects

during his Masters project since it involved digging

through national and international periodicals (magazines)

and concerned a subject area in which he was interested;

ships, warfare at sea and historical/factual accounts.

Ultimately, the class proved invaluable and made the job

of researching and writing the future screenplay much

easier. The instructor was a novelist.

Mass Comm 532: Seminar in Analysis of Media Performance

This was a "what's happening now" type of course

dealing with contemporary qualities of mass media. The

students wrote several papers on areas of their own

media interests. The course required research and a

defense of each paper in class. Again, laundry lists

were discouraged while logical analysis of media phenomena

was encouraged. The author learned how to support his

research and weather criticism.

The Author Takes Time Out

In mid-1983, the author temporarily left the graduate

program. He needed only 1-2 more courses to complete his

M.A. degree. He took some time out to do a little living

and went into business for himself. It was in the realm

. " 12 of the non-academic world that he was exposed to a wide variety of real-life characters and situations. He lived in an Hispanic ghetto for a time and saw the world in microcosm at a small diner that he used to frequent. He got to see the best and worst of people. The experience helped him. He went bankrupt and left L.A. with the clothes on his back and seven dollars in his pockets. This brings to mind the kind of sociological research done by authors like Oscar Lewis (see Five Families) whose work helps an author to internalize aspects of the world otherwise quite unfamiliar. But the real life experience and observations gained by this author during hard times is similar to the way Dr. Hunter Thompson has researched his books. Thompson has been known to live with the subjects of his studies (see his book on the Hell's Angels) and thus write about his subjects with thorough knowledge. Living in the environment you wish to write about gives you the gritty details which add realism to your story. Sometimes, this is impossible so you may have to use your imagination and put yourself in the shoes of the people you're writing about. It was now mid-1985 and the author decided to take some English courses. The Value of English Courses Now there was an interesting development. The author decided he wanted to teach high school English. But he didn't have the course background to do it. So he worked

13 during the day and went to school at night. He took several high level English and literature courses. It was to have a major effect upon his writing. He was forced to take a basic English grammar course. It was one of the toughest courses he'd ever taken. He hated it. Two years later, he was glad he had taken it. At last, he began to learn what made the English language tick. He didn't get a great grade, but the course was more valuable than any grade.

Next, he took a phonetics course. This also was helpful, but to a lesser degree. Then, he was required to take two poetry courses, both covering generally the same material. The difference being, one course was taught by a man and one course was taught by a woman. Although poetry is, in the author's opinion, of limited value, it did make him aware of the variety and power of the English language and the differences in how men and women perceive things.

Then, he took a 20th century novel class where classic

American authors were read and discussed. Among those studied were Willa Cather, Hemingway, Steinbeck, Faulkner,

F. Scott Fitzgerald and Richard Wright. The author learned that reading the classics aided in his development as a storyteller. He also took a course in 19th century classic novels and plays which was taught by a woman. All the stories had strong, participating female characters. The instructor stressed that storytellers are often men and

14 they don't include women characters who are active

participants in their stories. The women in the class also

agreed and criticized the Hollywood film industry for

cranking out movies where the women were caricatures and

not real characters. One actress spoke up and said "I wish

somebody would write good roles for women. Actresses can't

find very many (good roles)." In this class, the best of

Shakespeare's and Congreve's comedies were studied, as well

as work by Bronte and George Bernard Shaw. It was these

works which made the writer see the importance of active

women characters in a story. An interesting note; those

classic comedies which are still popular, generation after

generation, avoid portraying unfaithful women.

During this time, the author also took some computer

programming courses. These courses aided with the

development of more logical thinking and structuring.

Pascal programming was an effective tutorial language.

This language taught how to develop a structure on which

future work is based. Those who write technical manuals

take Pascal because it teaches the same structure used

in instructional design. The language teaches the user

to turn what you have into a basic structure and then

break everything down into smaller sub-structures until

it cannot be broken down any further. This is also the

• structure of research.

15 Decision to Complete the M.A. By the Spring of 1987, the author realized he wanted to complete his M.A. and set the process in motion before his seven year time limit ran out. Since he lived in northern California, he managed to take the last two courses in absentia. During the summer of 1987, he kept trying to think of a project which would be both fun and an accomplishment. Mass Comm 599-C: Writing the Proposal By the Fall of 1987, time was running out. He had one year left to go. During the Fall, he decided to work on a project about animal programs on TV. Since the author could not complete the course at Cal State Northridge, he set up a system with his advisor to complete the course by mail. By the end of Fall he had completed the Animal program proposal. He sent in the proposal and it was approved. Last Minute Change in the Project In mid-January of 1988, just as work was to begin on the animal show project, the author changed his mind. He realized he wasn't interested in the project. And that would have made either a dull project or a bad one. He then decided to take a risk. All these years, he had one burning passion. He wanted to write. He had started writing when he was 14. Now he was 29. It was time to take a chance on what he really wanted to do. He informed his advisor that he was changing the project to a

16 screenplay and was met with silence on the other end of the phone. He was then instructed to "get your ass moving" if he wanted to complete project during the Spring 1988 semester.

The author had originally intended to do an analysis of animal shows on American television. He was going to perform a content analysis, do some surveys, interview producers of nature shows and study other aspects of this

·type of programming.

Mass Comm 598-F: The Master's Project

The author decided to change the project to a screenwriting endeavor. He first intended to do book and periodical research, interviews, field trips, write a research paper, complete an outline, finish a treatment, write backstories and character studies, complete a first, second and final draft screenplay, write literature and film reviews pertaining to the project, complete a storyboard of the final script, put together a marketing plan, create examples of advertisements, do a production feasibility study, complete a distribution and advertising plan and end with a cost breakdown study. This was an ambitious plan (see table 1 in the appendix).

First, there were some decisions to be made. What kind of story did he want to write? He wanted to write

The Wreck Of The Admiral Nakhimov, but he had to develop a story. He knew the story was to be in the action-adventure genre. So, he wrote up a one-page outline and sent it off

17 to his advisor. The story was criticized, of course, but at least it was a starting off point. His advisor could now give him some guidance to aid in his research efforts. And, from the research process, an effective treatment could be developed. Thus, in the Spring of 1988, the project began. Again, the author was working from northern California where he was living. Most of the communications between advisor and student were at first by mail. Soon, much communication was being done by telephone. The u.s. mail system was too slow. So, completed work was sent by UPS overnight mail or Federal Express to speed up the feedback process. A communications setup using modems and phone lines to transmit information between computers during off hours would have been cheaper and instantaneous. But the computer systems of advisor and student were not compatible. Which brings up a very important point; the author's personal computer turned out to be the most valuable tool in his inventory (other than his brain). The author did all of his word processing on his computer. The computer saved him large amounts of time and money while freeing him up to do other things. While he worked on the Masters project, he was able to work full time at his job and take an extra class one night a week. The dramatic increase in his productivity was directly linked to his use of a computer and word processor. It is the author's opinion that those without a computer will be

' 6 18 at a decided disadvantage in the scholastic and work world. on the other hand, those using and understanding how to best use computers will possess a competitive edge. The computer allowed the author to translate and save his thoughts almost instantly while facilitating rapid editing and restructuring. What took hours or days with the old cut-and-paste method was reduced to minutes because of the computer. Committee Members Found As the Spring 1988 semester was beginning, the author took a trip to Cal State Northridge to find three committee members. A writing professor with industry experience generously offered to be the committee chairman. The author's advisor agreed to sit on the committee seeing that the author was having trouble finding committee members. As it turned out, one committee member could come from any other similar educational institution. The author found a TV writer/professor at a northern California university who also agreed to assist. Thus, with the help of some thoughtful people, the author was able to work on his project with very competent guidance and feedback. By the end of the semester, the author did not achieve as much as he had originally planned (See Table 2 in the appendix and compare with Table 1). Things took much longer than anticipated. The book and periodical research went according to expectations. Few of the planned interviews were actually done. A research paper

' tl 19 was completed but it took a great deal of time. The outline, treatment, backstories and character studies were completed in satisfactory fashion. The film reviews were also completed and turned out to cover more films than the author had expected. The post-script phase called for in the original plan was never carried out. There was not enough time for a feasibility study or its sister components to be carried out. Finally, only a first draft was completed instead of the expected three drafts. When the project was finished, the author went to Cal State Northridge at the end of the Spring 1988 semester to meet with his committee and defend the project. The project was criticized and approved by the committee. Some changes and additions were requested by the author's advisor. The project history was added and the bulk of the material (other than that found in the appendix) was restructured and honed. During the early days of summer 1988, the project was finally completed. The class was over and the Masters degree had been achieved. In the author's view, the volume of work created by the project was the result of the author's interest in what he was doing. His recommendation to those who wish to do a Master's project is this: "Do something which interests you. Choose a subject area that you enjoy. If you enjoy what you are working on, it will make all the difference."

20 CHAPTER 2 Research Methodology and Findings In mid-January 1988, the research phase began for the project. Here, the author used all he had learned from the various research methodology courses he had taken. He divided his library research into several segments. One segment was called "book research" which utilized any useful information available in book form. Another segment was called "periodical research" which utilized any useful information found in available in magazine formats. A third segment was called "interviews" since it dealt with interviewing people who had useful information or input. A segment whereby the author could visit things and establishments related to the project was called "field trips," though this was never carried out in the final project. Another area of investigation was called "film research" which was documented in another section called "film reviews." Here, films were reviewed. Other research, as to how certain elements of the script were created, were listed in other sections. How the Research Process Was Organized The research process first began in 1981 when a TV news segment inspired the writer to write a screenplay

21 about the sunken Russian cruiser Admiral Nakhimov. The TV news blurb spoke of treasure; possibly gold or platinum.

It.also spoke of the Tsushima Straits and the Russo­

Japanese war of 1904-05. It was mentioned that the gold suspected to be on board the Nakhimov had once belonged to Czar Nicholas. This was all the author had with which to work. In early 1988, the author began his quest for information.

Initially, research areas were divided into several groups. The first was any available reference to the name "Admiral Nakhimov." The next reference heading was the Russo-Japanese War of 1904-05. The third group was gold. The fourth was platinum. The fifth was treasure.

Book Research: The First Round

The book subject indexes were checked under the headings of "Admiral Nakhimov," "Russo (Russian) - Japanese

War", "Tsushima", "gold", "treasure" and "platinum."

The subject files had no listings for the cruiser

Admiral Nakhimov. The listings for gold and platinum were also of no value. The listing for treasure produced several references concerning books on underwater treasure hunting and salvage. The listings for the Russo-Japanese

War and Tsushima produced at least two excellent books on the subject.

The Emperor's sword and The Short Victorious War were books which provided extensive background information on

22 Russia's war with Japan, the battle of Tsushima and the cruiser Admiral Nakhimov. The author discovered in these books that the Admiral Nakhimov had indeed been reported carrying gold at the time of her sinking in 1905. She had not been sunk in battle, but was scuttled by her own crew to prevent capture after being heavily damaged by Japanese warships. She sank roughly five miles north of Tsushima Island, within sight of a landmark known as the "donkey's ears." The Admiral of the Nakhimov's squadron had been immobilized by a stroke at Cam Rahn Bay and died the night before the battle. The Russian naval crews on board the warships were composed of ex-convicts, rabble rousers, malcontents and potential mutineers. The Russian naval squadron was almost completely annihilated in the battle of Tsushima. Those ships not sunk were captured by the Japanese, including a Russian hospital ship carrying nurses who were from the Moscow bureaucratic aristocracy. This information raised more questions. Why was the Admiral Nakhimov carrying gold into battle? How much gold was she carrying? As it turned out, these questions were never answered during the research phase and were solved only by the author's imagination. The writer found several references to a first hand account of the naval battle written shortly after the war. In a curious historical episode, this account disappeared for several decades and later reappeared during World War 2 in a communal beehive somewhere in the Soviet Union. The

23 account was printed and distributed by the Soviet government press and released as a wartime novel. However, a translated version could not be located. Among the bibliographies in the backs of the books about the Tsushima battle was another fine reference. The author did not have the time or resources with which to follow it up. The Russian Naval or Maritime museum was located in Lakehurst, New Jersey. Visits were not possible due to the 3000 mile distance involved and there was little available information on how to contact this source. A look through several New Jersey phone books on the library shelves did not produce the phone number or address of this museum. On a positive note, the author discovered that the bibliographies of other authors' works served as excellent reference material. Indeed, if the authors of these books were still alive, even they might have been contacted to provide additional sources. The listings for treasure and salvage produced books which were not directly related to the Admiral Nakhimov. They are discussed later on. Periodical Research: The First Round The Reader's Guide to Periodical Literature was consulted first. This was the best common index to finding items in a periodical research quest. There were no effective findings under the subjects of gold, platinum and the Russo-Japanese War. However, there were several intriguing articles found under the headings of Tsushima

24 ., and Admiral Nakhimov. At last there was some luck.

Several magazine articles about the Admiral Nakhimov, and

those who had dived on the wreck, were located and

photocopied. None of the articles was very long. They

did, however, contain information leading to other sources.

The periodical indexes were checked all the way back to

1900; the earliest index that was available. This search

into earlier periodical history proved fruitless. The

index was likewise checked under the previous headings but

this, too, shed no new light on the subject. Humanities

and newspaper indexes were accessed but contained nothing

of significant value. Other indexes were checked, but by

now, headings on the Admiral Nakhimov and her battle were

~ virtually nonexistent.

Reading the photocopied magazine articles on the

Admiral Nakhimov gave the author ideas for further

investigation. One clue pointed in the direction of

the Japanese. An industrialist named Sasakawa had sent an

expedition after the Nakhimov in the early 1980's. The

expedition found ingots which the Japanese claimed to be

made of platinum, but no proof of this was ever

established. The Admiral Nakhimov had been located under

300 feet of murky, treacherous water in the Tsushima

straits. Sasakawa suggested that the unlocated treasure

on board the Admiral Nakhimov was worth 36 billion dollars.

How he came to this conclusion, nobody knows. After 1982,

periodical references about the Admiral Nakhimov dried up.

. ~ 25 An amusing article portraying Sasakawa in a sinister and wicked light was discovered, but it had no real relevance to the project other than reference material to help create a cinema villain. Nothing more of importance was discovered. Tom Clancy's Influence: Fiction Research The author, in his outline, envisioned a sea story with action and suspense pitting the Soviet KGB against American heroes. The author's advisor guided him to read Tom Clancy's books as background and inspirational material in his quest. Clancy had written two fine books on Soviet/American action and intrigue at sea; The Hunt For Red October and Red Storm Rising. More than anything, Tom Clancy's books provided the author with examples of how to develop an action/adventure sea yarn. The author had digested and analyzed Red October several months before. Now he read the other book, Red Storm Rising. The author was both inspired and impressed by Tom Clancy's writing. Clancy's books showed evidence of extensive research; particularly when it came to high-tech and military technology. Clancy also wrote about an area the author was interested in; that of sea or maritime action/adventure. one morning, the author had the good fortune to be watching a national news program. On that show, Tom Clancy was interviewed. He had met with success after finishing Red October. During the interview, it came out that Clancy

' " 26 had been working in the insurance business somewhere in the midwest. Clancy mentioned that, due to his interest in maritime stories, the military and his writing, he had made many good friends and contacts around the world. Many of these friends provided him with important or critical research information for his books. These were interview sources which added to the credibility of the story and helped to eliminate inconsistencies and errors. Clancy, apparently nonplussed by his great success, was heard to say "Anybody can basically do what I've done (i.e., write a successful book or story). Clancy suggested that research and persistence made his success possible. The author never forgot what Clancy said during this interview. Clancy was saying this: Don't give up. You can do it, too. Clancy's influence and inspiration was to show up in the author's outline, treatment, backstories and character studies. The author is indebted to Mr. Clancy for having opened up a previously dead subject area and helped make it viable for other writers. His encouraging words helped stimulate the author in his efforts. Reference Materials: Jane's Fighting Ships Tom Clancy had mentioned that one of his best sources of military information had been the Jane's publishing organization in England. The author searched for publications by this organization. The reference sections of several county and university libraries were

27 stuffed with military reference books. The author located several volumes from the Jane's Fighting Ships series. These volumes contained information about warships from the 1890's to the present. He checked the 1898 volume for references about the Admiral Nakhimov. The volume was divided into sections by country. The author found the Admiral Nakhimov in the Russian section. It showed a drawing of the ship as she was originally built and a few minor statistics about her. This didn't help very much. The 1902 edition at last revealed valuable information about the vessel. She had been completely reconstructed in 1899, changing her appearance. There was a photo of her final appearance just before the battle of Tsushima. It gave information about her armament (weapons), dimensions, armor, speed and propulsion. Also included were overhead and cutaway side-view plans of the warship. Her tonnage, or weight of water which she displaced, was also included. From the tonnage, the author could make some educated guesses as to how much gold or platinum she could have carried. Since the ship sank in 1905, the author checked the 1905 edition of the Jane's series. He discovered an account of the battle of Tsushima complete with maps and interviews with Russian sailors. At this point, the writer found the references on the Admiral Nakhimov to be virtually exhausted. Now that he had a good background from which to work, he could begin developing the main story.

28 After the author's committee members gave him feedback on the outline and treatment, more research was indicated. The author wanted to develop a treasure salvaging segment of the story and include the KGB in the action. Part of the treatment indicated research was necessary concerning radars, electronic warfare and jamming. Information was needed on Soviet merchant ships, spy trawlers, aircraft, and KGB spy operations. An overview was also needed on Soviet society and culture. The author's advisor recommended that he research magazine articles on the recent unrest among minorities in the Soviet Union. Tom Clancy's research had also used Soviet minorities to start off the action in Red Storm Rising. This type of research would give the author a better view of contemporary soviet domestic affairs. Information on diving and wreck diving would be necessary to fill in information in the underwater salvage area. Underwater machinery would have to be researched as well. Additionally, the story involved ships. Thus, ships and their terminology would have to be studied. Ocean survey ships would also be studied because of their use in underwater search, exploration and salvage. Since the story required some gunplay and spying, the author decided to research spy techniques and weapons. Contemporary and exotic weaponry would also be studied. KGB Research The writer decided to tackle the KGB first. There

29 were several modern and extensive books on the subject. He found The KGB, The Eyes of Russia to be a good source. The

~GB Today, The Hidden Hand and The New KGB, Engine of

Soviet Power were also fine books on the KGB's operations.

He checked out these three and spent some time reading the better chapters, while skimming other areas. Here, he learned about the history of the KGB and the spy apparatus of the Soviet Union. Many KGB officers were profiled in the readings. He learned that, when it came to gathering valuable information, the KGB had developed a tradition of doing whatever was necessary to get the job done; and that meant murder, blackmail, bribery, favors, deceit and anything else that could be used to play on human weakness and frailty. The KGB had a specialty of concentrating on people, rather than technology. It was people that were the weak link in every system of secrecy. Often, the top

KGB operatives seemed to have little remorse for their ruthless actions. To them, it was a job and a profession.

KGB spy techniques were also studied. While this area was interesting, it mainly dealt with how they got rid of people. Amusingly, any KGB agent who was captured and later returned to the Soviet Union through a spy-exchange, was welcomed back with suspicion. The KGB did not trust captured agents when they returned. After debriefing, such agents did not live very long. The background for the villain was now taking shape.

30 Russia: Book Research Next, the writer studied some books on the Soviet Union but found nothing of great importance. The Russians was an interesting but dated look at the Soviet Union and its government. Travel guides such as The Complete Guide to the Soviet Union and Pan Am's World Guide provided useful travel information and maps but little else. About the only thing clear was that Russia was a tightly controlled society where the individual was repressed. In their long history, the Russian peoples had never been free. The Soviet Union was basically a closed shop. Soviet Minority Unrest: Periodical Research Upon a suggestion from his advisor, the author returned to the periodical indexes and accessed many recent articles about minority problems in the Soviet Union. New and surprising background information appeared. Soviet minority peoples had been stirring up trouble in the motherland. Latvians, Lithuanians, Estonians, Ukranians, Georgians, Moslems and Armenians had caused problems for the Soviet government. The Soviet Union, it turned out, was run by a clique of White Russians who dominated the political power structure of their nation. Minority governments were being run by Russians instead of minorities. Worse, for the Russians, the minorities would eventually start to outnumber them. The U.S.S.R had been experiencing localized unrest in several provinces.

31 Tom Clancy's Fiction View of Soviet Culture Clancy's books provided an interesting overview of the Soviet scene and motivations as to why these communists do what they do. Their action sequences were particularly well done. The author was surprised to see parallels and similarities between action scenes in Red Storm Rising and his first draft screenplay, written long before the Clancy book. These similarities served only to encourage him in his screenplay efforts. Somehow, the writer was on the right track. The KGB: Periodical Research Returning to the periodical indexes, namely The Reader's Guide, the author searched for recent articles about the KGB in order to update the slightly older information he was finding in books. He found a few brief articles about the KGB, but none really added to the information he had already gathered. Surprisingly, he stumbled across several articles about the CIA, the National Security Administration and other American intelligence agencies while checking on the KGB. Seeing the intelligence game from the American side provided some interesting illumination about the spy game. Spy Research: Books A fine source for anyone writing spy stories was a reference book called §Ey Tech. The author found this book to be one of the most intriguing manuals about the spy profession that he'd ever run across. Here, a researcher

. 0 32 could find proven and realistic techniques actually used by spies. Although several years old and slightly behind present rapid technological changes, the book delved into many fascinating areas. Some of the areas covered were spy satellites, murder, kidnapping, poisons, hand weapons, explosives, electronic eavesdropping and surveillance, encryption and codes, the process of spying and avoiding detection. The writer found this book to be a rich technological source on spying but it contained few references concerning actual spies and individuals.

The ~Tech information on spy techniques was, to say the least, fascinating. In the area of satellite spying, the Soviet satellites are mostly military while the u.s. satellites have a noticeably large proportion of civilian controlled units. Some of the Soviet satellites are ocean­ observing ferret/ELINT (electronic intelligence) units which utilize infrared scanning and side-looking radar. Due to the high energy used, these units are nuclear powered. These vehicles are high resolution satellites which scan and take photos optically. Other units use TV cameras and transmit images. Soviet satellites also eavesdrop on signals from radar systems and radio intallations. In comparison, the u.s. appears to lead the Soviets in satellite spying technology by a large margin. The U.S. satellites stay up longer and are technologically superior. The Soviets consider spy satellites important because they need to check out the information their human spies send

0 33 them.

Telephone tapping is another way to spy on people.

This requires some skill and knowledge of phone systems on

the part of the tapper. The safest place to tap a line is

at the nearest terminal box. Tapping phone cables can be

detected because they will depressurize. At the terminal

box, the tapper searches each pair of lines until he hears

the voice of the person he wants to tap. Or he can dial

the number he wants to tap, let it ring and then connect

each pair of terminals until he sees a spark. If a pair

makes a spark, it's the right phone line. The preferred type of tap is a battery powered parallel circuit tap. This

can't be detected in terms of power loss. An induction tap can also be used. It can't be detected, either. It's self­ powered and wraps around the phone line. Any signal in the

phone line is picked up and amplified by the tap. However, this tap is subject to interference and distortion.

Another tap is a mini-radio transmitter which looks

just like a telephone microphone. All one does is replace the real mike with the tap. This can be detected because

it uses phone line power. Tape recorder taps can also be used to spy on people. These can even allow the spy to discover to whom the phone calls have been made.

Bugs are another tool with which to spy. An infinity transmitter can be hooked up to a person's phone, allowing the phone to become a bug. The victim can be listened to with his own phone. However, other people calling the

34 victim will get a busy signal and this will eventually arouse the suspicion of the victim. Sweepers can detect this bug. In the future, fiber optics will make telephone tapping a virtual impossibility. That leaves bugging as a main option. Bugs are tiny microphones planted in rooms or in small holes drilled through the walls. A shotgun mike can be used to eavesdrop on subjects outdoors or from longer distances. This can be used alternately with a parabolic dish mike. Radio transmitting bugs are also effective but subject to interference. The CIA and KGB produce bugs pre-built into fixtures and furniture. Bugs can be located in books, lamps, paintings, desk pens, etc. They can also be disguised as trash; to be removed by the maid at the end of the day and recovered outside. There are also body bugs which are basically radio mikes wired to the spies in the operation. If the spy is frisked, discovery is certain. Directional beepers are a type of bug which allow spies to track people or objects. Bumper beepers are a standard way to track cars. Detection of bugs and taps costs money. Sweeping and scanning equipment can range from a few hundred to tens of thousands of dollars. Visual surveillance can be done by using agents who eyeball what's going on. However, night viewing devices can be necessary for low-light situations. The spy has his choice of an active or passive device. An active device is

35 an infrared light shined onto a subject and then watched through an infrared optical device. If your opponent has an IR scope, you've had it. Night vision goggles and starlight scopes are passive devices, using available ambient light. They are capable of seeing night as near­ daylight and spotting people at great distances.

Photographic spying can be done with a normal 35mm camera. But for secrecy, cameras can be mounted inside briefcases, wristwatches and other paraphenalia. Miniature document-photographing cameras exist and are quite small.

There are even small video systems with pinhole lenses that have been used in sting operations.

Sabotage and explosives are also a part of the spy trade. High explosives can be acquired as TNT, dynamite and C-4 plastique. Gasoline and nitroglycerine also can be acquired easily. If the explosives can't be bought, they can be stolen. C-4 is the preferred explosive of terrorists and spies worldwide. RDX can be made at home or from C-4.

RDX can be turned into bread or cake, then turned back into explosive goo. Cheap low-explosive bombs can be made from cans of pistol powder, mercury fulminate, chemical fertilizer, swimming pool cleaner, hair bleach and sulfuric acid. Incendiary bombs can be made easily. Molotov cocktails are made from a jar full of gasoline stuffed with a burning rag. Gasoline mixed with paraffin makes an effective napalm.

Standard spy weaponry varies considerably.

36 Desperation weapons include a broken glass or bottle, a wristwatch wrapped over the knuckles, keys held in the fist, belt buckles, rocks, pens, pencils, shoelaces (to choke), a book (a club) and a sock full of damp sand.

Regular weapons include knives, hatchets, poison daggers, throwing knives, clubs, blackjacks, Nunchaku sticks and garrotes. However, these are not so effective in an instantaneous fight. The best weapon in a brawl is supposed to be a handgun; particularly if the agent's life is threatened.

Pistols are easy to conceal and are very deadly.

Small pistols can shoot through doors and walls while large pistols can blow through the length of a car. Kevlar body armor will stop most pistol hits. Rifles are used mainly for assassination from long distance. Submachineguns and machine pistols are used for close up killing. They are used by agents who are bad shots and are willing to hit a whole area in order to get the kill. Many spies prefer pistols with silencers since submachineguns are bulky and obvious.

Poisons and strange weapons can also be used. One

Eastern Bloc defector was killed by a ricin pellet injected by an umbrella. Even sharp boomerangs and killer frisbees can be used to finish off a victim. A special cyanide gun was developed by the Soviet MVD to eliminate people by making them inhale the poison dust.

Truth drugs like sodium pentothal, LSD and anything

37 else are not effective unless combined with hypnosis and possibly torture. Currently, there is not much interest in the so-called truth drugs which supposedly make prisoners talk. On the whole, it must be remembered that the best kind of spy is not a James Bond or a James West. The best spy is the one that has a humdrum existence and does not draw attention to him or herself. Spies who draw attention to themselves, or who are flamboyant, will probably get caught very fast. Ship, Salvage and Maritime Research The writer needed information about ships since the story had a maritime setting. By sheer luck, he stumbled across a newspaper clipping about a local salvage expert who lived in a nearby port city. He stashed this article and reviewed it during the research process. Here was a living interview source. The salvager owned his own ship and travelled worldwide performing salvage operations. He was a German and was successful at what he did. The article was a good start but told little about the man. Originally, the character of Rick Hogan was going to be based on this European salvager. But, for some reason, the German salvager didn't seem very colorful and the

writer wanted the main hero to be American. The German salvager reference was stored away for future use as the basis for a possible supporting character. The author went back to the book indexes. He found

. ' 38 leads under the subject headings of salvage,

maritime salvage, gold and treasure. One book about

American salvagers had a very colorful account of a

Washington man who built a fortune off his skill,

expertise and experience in underwater salvage. He turned out to be the Red Adair of maritime salvage. The man had

a reputation for doing what others said couldn't be done. He was a common blue-collar man who had worked hard all

his life. He took tremendous financial risks and bet

everything on his ability to salvage what others could not.

The author thought that this was the first real life

character who sounded anything like the one he wanted to

write about. The real life character bought a Navy LCM

after the war and converted it into a salvage ship. The

man had many exploits both on land and at sea. However,

the real life character sounded too much like John Wayne in

The Hellfighters. It was a good basis for the hero, but

something wasn't quite right. The author would have to

think about it. Treasure Research Other references popped up under the heading of

treasure. Some books were skimmed while others were read thoroughly. The books ranged from the incredible to the

very dull. Some of the stories were questionable at best.

For instance, one story painted the book's author in a very

heroic light claiming that he had fought ghost pirates and

a giant octopus. How this account managed to get into the

• t) 39 nonfiction section of the library shelves is a mystery. Since there were no witnesses other than the novelist, nobody could claim that his stories were not true. Generally, the older books tended to be poor sources while the newer books tended to be mainly factual. The older books would show drawings of incredible things while the newer books used photographs to back up their stories. A good source about a recent successful underwater

treasure hunt is Mel Fisher's Treasure --of ---the Atocha. This book basically told it like it was and told much about the people involved in the treasure hunt. It also provided information on the legal aspects of underwater treasure salvage. Both the state of Florida and the u.s. government wanted a share of the treasure. Other salvagers came into their claim area and tried to claim jump Fisher and his expedition. This forced more legal battles in Miami. Although it was an effective background source, the book provided only guidance in certain directions and was not all that useful. Books found under the heading of "gold" were poor sources of information. Other books under the heading of "treasure" tended to be older and lacking detail about the art of underwater treasure salvage. Books about treasure salvage on land were not accessed. Ship and Maritime Technology Research The author decided to investigate the area of ships and maritime terminology so the correct terms could be used

40 in the screenplay. The writer found a shipfitter's manual

and learned much maritime terminology from it. The manual

tended to be very technical and was written for those who

were interested in the actual construction of merchant

vessels. Little of the information within the manual

would be required in the script. Again, Jane's Fighting Ships was checked for information on u.s. Navy LCM craft. The writer checked a postwar volume and found various

specifications about this type of vessel. Other books were checked for maritime and ship information. Two books on the American Merchant Marine and their ships were found to be good sources of information on merchant ships and their operations. Here, the author discovered how the day to day maritime operations were performed and how the different terminologies were used. Useful sections about the parts of ships, communications, cargo, crew, sea conditions, loading, fuel and navigation were noted for future reference.

The writer also needed information about the Soviet

Navy and her merchant marine. An older, but still very useful book on that subject was Russian Sea Power. Upon reading this, the author discovered that this book may have been used as a source by the novelist Tom Clancy. Certain technical information seemed to have been used word for word in The Hunt for Red October. This showed that the writer's research was taking him along the right path. It turned out to be a fairly rich resource about Soviet Sea

41 operations. There was extensive, though dated, information about the history of the Soviet merchant fleet and the

Russian fishing fleet. Many of the ships in these fleets had also doubled as spy ships; particularly the trawlers.

The writer made a note that the KGB often operated spy ships of many kinds. Obviously, the character of Slava would at some point be on one of these ships since they have been used as the eyes and ears of Russia. The level of electronic equipment on these ships would no doubt be advanced, as well as their communications systems. Again, a modern edition of Jane's Fighting Ships was accessed.

More information was found on some of the larger Soviet naval ships and subs, but little was found on the current

Soviet merchant and fishing fleets.

A call to the Soviet consulate in San Francisco was considered, to gain more information, but this was not carried out because of the well-known Soviet reluctance to talk. Nor did the author want his name to appear on an FBI surveillance list.

Underwater Technology and Diving Research

Now the writer needed to have information on modern underwater treasure-hunting and salvage devices. He looked up nonfiction subject headings such as diving, underwater vehicles and salvage. He found numerous diving manuals and several books on submersibles and remotely operated underwater vehicles.

The diving manuals were investigated first. Here, the

42 many kinds of underwater breathing gear were studied. The various parts of scuba gear, divers suits, air mixtures, hand tools and diver terminologies were noted. Several new types of underwater technology provided imaginative insight into which direction the underwater field might go.

~ Recompression tables and other technical data were photocopied and filed for possible future reference. Photos of new types of gear and important diagrams were xeroxed and similarly filed. Some of the manuals ranged from the very rudimentary, made for the non-professional, to the very extensive, written for the serious pro.

Books on submersibles also tended to be useful. The older books, dealing with early submarine technology, were outdated and of little value. The modern books were quite well done and thorough. One book on the subject of ROV's

(remotely operated vehicles) was highly technical and informative. It included dozens of photos of the new-style underwater tethered robots which do work where people can't go. The writer managed to amass a great deal of technological information in this way. Other books about early vehicles such as Alvin, Aluminaut and Deepstar were fascinating but not important to the screenplay.

Underwater Research Findings

The research findings on the area of diving and underwater salvage were adequate. Scuba diving consists of a diver wearing an artificial breathing apparatus. Air tanks are worn on the back and secured with straps. Air

43 hoses bring air from the tanks to the regulator and mouthpiece from which the diver breathes. The regulator used is usually a demand regulator. A demand regulator lets air in when the diver breathes in and lets air out when the diver breathes out. The air tanks are actually compressed gas cylinders. Those air tanks made of aluminum are most popular because they are lighter than steel tanks. The cylinder has a valve used to pressurize or depressurize the tank. It's called a "K" valve or a "J" valve. The "J" valve is more popular because it warns the diver that the tank is almost out of air. This entire system is known as an open-circuit scuba system. Scuba divers may use wet suits or dry suits. Wet suits allow water in between the divers skin and the suit, providing a layer of warmth from the skin-heated water. The dry suit is completely self-contained and allows no outside water inside. This is used in very cold water to allow the diver to stay down and work longer. The dry suit insulates better than the wet suit. Umbilical diving is diving without an air tank. Instead, the diver is linked to an air compressor on a surface boat via an umbilical cord. The cord carries air, communications and a line with which to pull the diver out of danger if trouble arises. Weighting the diver adjusts buoyancy. A weight belt can be carried. A buoyancy vest can be worn to adjust the buoyancy from positive to negative to neutral buoyancy.

44 Divers carry knives, depth guages, wristwatches and shark

billy sticks. These items are essential to the diver for

survival. Sometimes divers will wear small pony bottles

on their legs. Pony bottles provide a 5-10 minute emergency

supply of air.

Divers can run into a wide variety of trouble. Hypoxia

occurs from an oxygen shortage. The result is euphoria,

unconsciousness and then death. Hypercapnia is caused by

too much carbon dioxide. Again, if the diver doesn't get

back to the surface and receive aid, the result can be

fatal. Barotrauma occurs when the pressure outside the

diver and inside are different. The result can be as bad

as ruptured blood vessels or as mild as stuffed up ears.

Blowup can occur when the divers hold their breath while

ascending. The rapid expansion of air in the lungs can be

fatal. A gas embolism occurs from things like blowups and

rapid recompression. It puts air bubbles inside the eyes

and bloodstream. If a recompression chamber is not used

to treat this ailment, it may be fatal. Decompression

sickness, also called the bends, comes from nitrogen bubbles

in the blood and tissues. This is caused by a rapid ascent

to the surface. Again, the treatment is a recompression

chamber. Nitrogen narcosis occurs in deeper dives. Known

as rapture of the deep, nitrogen narcosis causes the diver

to lose effectiveness at a depth of about 200 feet and start

feeling euphoric. The cure is to ascend to shallower depths

where recovery is immediate and complete.

. ~ 45 Oxygen poisoning can can occur when the diver breathes

an air mixture containg more than 60 percent pure oxygen for

a time period of over 12 hours. Convulsions can occur.

Hypothermia is caused by the diver losing body heat too

fast. The cure is a hot bath and some form of exercise to

restore internal heat. Avoid alcohol while treating

hypothermia. Other problems can come from other sources.

Other people can be more dangerous underwater than any

creature. Divers should avoid jelly fish, Moray eels, sea

cucumbers, ratfish, sea urchins, slippery algae and sharks.

Sharks can be kept at bay with a shark billy, a large stick

or bang sticks (used to kill them). Mistakes can also cause

fatalities. Human error is found to be the prime cause of

most diving accidents. Environmental conditions, acts of

God and equipment failure can have dangerous consequences.

To combat human error pressure accidents, there is the

"martini rule." For every 50 feet the diver descends, the

pressure has the effect of one martini. Also, flying soon

after diving can cause the bends.

When diving on wrecks, other equipment is needed. For

instance, air lift bags (underwater ballons) are used to

raise underwater finds to the surface. Lines and

underwater diving lights are used to guide divers to the

site. Acoustic pingers are attached to a site to provide

a permanent fix which can be detected by hydrophones. Diver

Propulsion Vehicles are small three foot long torpedos which

pull divers through the sea. A divers' house, or underwater

46 ' ,; habitat, can be lowered to the site to allow for saturation

diving. Saturation diving is where the diver works out of

a pressure facility on the seafloor. An airlift is a pipe

with air forced into it from a surface ship. The air

breaks up the water, making it lighter and turning the pipe

into a suction dredge which delivers material to the ship.

Sonar is an underwater echo pinging system which locates

things with sound waves. Decompression time is the amount

of time necessary for decompression according to depth and

the type of gas the diver breathes. Decompression time can be extensive. For instance, a 200 foot dive requires a decompression time of 66 hours (mostly aboard ship).

Submersibles, or submarines, can be used to help divers and salvaging. Most of these units are small and have limited endurance because they are battery powered.

Some have claws and photographic gear for exploring the site and bringing back samples. Free flooded submersibles are also used in wreck diving. The difference is that a free-flooded submersible can be used only by a crew wearing scuba gear. It is not a regular submarine because its interior floods with water.

Another useful device is called an ROV. ROV's are unmanned tethered vehicles operating from the surface. ROV stands for Remotely Operated Vehicle. These vehicles have propellers and trail a power and control cable. Operators with joysticks control them from a surface ship. ROV's are equipped with claws, lights and TV cameras. They can do

47 work and exploration in areas or depths where regular divers cannot operate. ROV's made possible the exploration of the interior of the R.M.S. Titanic. They have also saved tremendous amounts of time and money. ROV's eliminate the necessity of an exploration dive to figure out whether or not the wreck site is the correct one.

Underwater explosives are used by wreck divers. Often, wrecks must be cleared of debris to get at the important finds. Therefore, underwater TNT or plastique is used with an electrical detonation system. Underwater explosions are extremely dangerous and cause tremendous shock and pressure damage. The diver should not be in the water when setting off underwater explosives.

Recompression/decompression chambers are carried on surface support ships for treating the bends, embolisms and necessary surface recompression. Ships also carry air compressors, racks of gas cylinders and are designed to support teams of divers. A doctor or certified diver's medic should accompany any diving expedition. The dive is overseen by a person called the divemaster who is in charge of the divers and all facets of the dive. Breathing gas mixtures for the divers can range from regular air to heliox (helium and oxygen) for deep dive endurance.

Interviews: Radars, Electronics and Jamming

For the sake of believability, "far-fetched" weapons, vehicles or other equipment were not introduced into the story. Rather, research was done on the functions and

48 operations of many real modern-day devices. References on

remote operated vehicles (ROV's), diving paraphernalia,

weaponry and seagoing and underwater vessels are listed in

the bibliography. Some of the electronic systems used were

researched th~ough personal interviews with experts. These

people were consulted on the capabilities of certain

electronic equipments and the languages involved in their

operations. One of these experts had spent many years as a

civilian advisor for electronic matters on high echelon

Navy staffs. Another had been an Air Force electronics

expert and, since then, has been employed for more than

fifteen years as a supervisory electronic technician at a

prominent "Silicon Valley" establishment.

Some of the things learned from personal interviews

pertained to communications, identification, navigation

and electronic countermeasures systems. Of these, the

systems with which the general public has the least amount

of familiarity are the various devices used for electronic

countermeasures (ECM).

In general, ECM operates in four basic modes; passive

ECM (PECM), two types of active or defensive ECM (DECM) which the Military usually refers to as Electronic Warfare

(EW), and a third active type, the jammer.

A PECM device is a receiver. It can be used to display

and identify incoming radio, radar or missile guidance control signals and provide warnings which show the types

and origins of these signals. Thus, the "target" operator

49 can tell if he is being painted by radar and, if so, whether it is friendly or hostile and from which direction it is emanating. PECM also can be used to similarly recognize and plot incoming guided missiles so that timely evasive or retaliatory action may be taken.

DECM usually incorporates a transmitter. Some, more complicated types have a transmitter and a receiver. Other types are simple chaff producers. These will spew out thousands of tiny shreds of highly reflective metallic foil

(chaff) which will serve to provide the incoming radar with a large cluster of extra targets so that the radar operator will have difficulty identifying the real target, if he can find it at all. The chaff may be released automatically or manually.

There is also a type of DECM which merges the PECM receiver with a transmitter. When the incoming signal is received and evaluated it is not necessarily displayed but, if it is computed to be unfriendly, the receiver section of the equipment automatically triggers a transmitter section which electronically broadcasts large clusters of blips to again mask the real target behind a barrage of false ones.

A third and much more complicated type of DECM actually takes the received information, amplifies it by a factor of perhaps a thousand, introduces false range information and sends it back to the point of origin. This is called taking over the radar's automatic gain control (AGC) and stealing its range gate. The effect is that the radar, with its AGC

50 under the influence of the thousand-times-greater signal, completely loses the real target blip. It now is locked onto a strong new blip which is yielding continuously changing, erroneous distance information, always quite different from that of the real target. This type of DECM is useful as a defensive device against radar-controlled missiles but also can be used as an effective tool for the more simple maneuver of running away and hiding from someone who is attempting to locate and track you by radar. The level of sophistication involved in this type of system was deemed unnecessary to the screenplay. It was enough to provide the "good guys" with a simple passive ECM system and an automatic chaff producing transmitter for acquiring radar information and making necessary maneuvers. The "bad guys" in the story are equipped with a jammer, the purpose of which is to disrupt the "good guys'" radio communications. The term "jammer" should be familiar to most of the general public. The jammer is used to cover up, even obliterate, the "other guy's" communications and broadcasts. It typically has abnormally high output power and fulfills its function by broadcasting a blanket of raucus, unintelligible "garbage" in order to engulf the target communications in an ocean of interference. One way is for the operator to tune in to the target broadcaster, determine the operating frequency or wavelength, set the jammer to that wavelength and turn the jammer on, now and then turning it off to listen in and determine if the

51 broadcaster is still there. More sophisticated jammers

incorporate receivers to pick up the signals to be jammed,

electronically determine the wavelength and automatically

activate the jammer on that wavelength. The jammer will

operate for a pre-programmed period of time and then stop

to listen again. If it again picks up the target's signals

it reactivates. This routine continues for as long as it

is programmed to do so, or until the equipment is manually

shut down. As can be deduced, this latter system has no

requirement for an operator to be in constant attendance.

Whatever the sophistication of the jamming equipment, the

intended result is to render intelligible transmission and

reception impossible.

The balance of the electronic systems used in the story

are fairly common and straightforward. One of these is the

transceiver. The transceiver is a comparatively small

radio communications system that incorporates both receiving

and transmitting functions in the same "black box," using a

good deal of common circuitry and component parts in the

process. Some of the advantages are improved compactness

and the fact that the receiving frequency automatically

becomes the transmitting frequency unless programmed

otherwise. But the chief disadvantage stems from the very

features which provide the advantage of automatic receiving

and transmitting on the same frequency. If an electronic

failure takes place in the so-called "front end" of the

unit; e.g., the antenna coil andjor associated input

• d 52 circuitry, or in any other section of the transceiver

utilized in both the receiving and transmitting modes, the

operator will not be able to receive or transmit. (On the

other hand, if the operator has a separate receiver and

transmitter, he will still be able to transmit if his

receiver fails or still receive if unable to.transmit.)

However, because of ease of operation, the reliability

of modern technology, compactness, reduced power

consumption and other advantages, the transceiver generally

is considered to be the better way to go for lower and

moderate powered installations.

Electronic navigation devices run the gamut from the

very simple and fundamental to extremely complex systems.

From the shipboard operator's point of view, radio sets

which "home in" on stations or beacons are among the easiest

and most often used means to determine direction but do not

yield distance data on their own. Of course, the operator

can determine his own exact position by homing in on two

widely separated stations or beacons and noting where the

lines of direction intersect. That will be his position and

will provide him with exact bearing and distance information

to any other point on his map.

Helpful Illustrations

Illustrations describing some of the ships, weapons and

technology used in the screenplay may be found in the

appendix.

' u 53 CHAPTER 3

The Film Review Phase

The film review phase of the project was an ongoing process throughout the semester. Since the author was writing a screenplay, not a book, it was a good idea to review movies with similar themes or motifs. It was also an effective way to learn the technique of writing the action/adventure film by observing both good and bad films of this genre. These films were examples of exemplary movies, action/adventures, unsuccessful productions, romantic stories, suspense/thrillers or interesting characters and plot development. The author discovered there was something to be learned from every movie; good or bad; commercial or noncommercial.

The Value of Video Stores

The best film library available to the averge person is a good local video store. When the author entered the

Master's Program, video tapes were renting for as much as nine dollars per night. By the time the writer began his film research, video tapes were renting for as low as 99 cents per night. Film research was now affordable and contained a wide variety of movies from which to choose.

54 Raiders of the Lost Ark

The writer chose first to look at films with some kind of treasure or gold as the object of the film's story.

He reviewed Raiders Of The Lost Ark seven times. The author's story would be far less fantastic than Raiders.

It also had to be far less expensive with far fewer special effects. Raiders did serve as an effective model but this was not the type of film the author wanted to write.

Temple of Doom and Tron

Next, the sequel to Raiders was reviewed. Temple Of

Doom was a far less successful story, both economically and structurally. Here was an example of what happens when characters, relationships and character development are sacrificed for special effects. A technological triumph,

Temple sadly turned into a "who cares" kind of movie due to the uninteresting characters in it. In a way, this was a throwback to Disney Studio's Tron which had the same problem. Tron hurled technology and special effects at the audience without developing characters or relationships.

Tron was an achievement of computer special effects, but a failure at the box office.

Cannon Films' King Solomon's Mines

The author then reviewed a pair of unintentionally funny movies by Cannon films; Golan and Globus producing.

The first was called King Solomon's Mines. This was the second remake of an old movie and an older novel. It tried hard to mimic Raiders but just didn't have the magic.

55 one problem was that the movie was so cheap-looking it evoked laughter. For instance, at the end, the brown- haired hero tumbles and becomes a black-haired stunt man. Or, as the hero and heroine are being flooded, they are attacked by a 6-inch long baby alligator and a confused pygmy python. Another problem was that the characters and relationships were sacrificed for action. The characters were merely pawns to be moved around by the story instead of vice versa. Allan Quartermain and the Lost City of Gold The sequel to King Solomon's Mines was called Allan Quartermain and the Lost City of Gold. Again, this film suffered from the same problems as its forerunner. Both films were clearly exploitation movies which were probably designed to follow the success of Raiders. Compare the fight on the truck (between Indiana Jones and the Nazis) in Raiders and the fight on the train (between Allan Quartermain and the German troops) in King Solomon's Mines. Both films use an identical action sequence here. You will see the difference between a good movie and a badly made movie. Firewalker Next, the writer reviewed another movie by Cannon. This starred Chuck Norris and Lou Gossett and was called Firewalker. The film tried to be funny and concerned a jungle romp for Mayan gold. This film had no love story

56 and the characters again were used as pawns by the storyteller. It was not very successful. This is an example of the "paycheck" genre of action/adventure cinema.

The paychecks were thought of long before the story.

Treasure of the Yankee Zephyr

A very unsuccessful film about a search for sunken gold was called Treasure of the Yankee Zephyr. This film lasted about a week in the movie theatres. It had an uncohesive story, poorly defined characters, no story development and just plain did not make sense. The author recommends viewing this film as an example of what not to do. All the mistakes that could possibly be made in making an action adventure film can be found in Yankee Zephyr.

Please note that when the female love interest is a bitch from the movie's beginning to its end, the film usually flops. Temple of Doom made this fatal mistake.

Moby Dick

The writer reviewed the film Moby Dick. This was an example of a well done sea yarn. Comparing it with

Melville's novel, the film was very concise. The novel rambled and went inside people's heads at length. John

Huston made the film with a first person narrator, like the novel. Huston had a knack for turning good books into good films.

Sink the Bismarck

Sink the Bismarck, really a war movie, had been reviewed. Although much of the film was action between

57 warships, it used some effective techniques to make this

story interesting. During the action sequences of this war

melodrama, the audience was shown closeups and intimate

shots of the men behind the machines. The story was held

together by a central character who took charge of finding

the bad guy's ship. Included in this central character's

story were the subplots of his son missing in action and

the relationship with his female secretary. Thus, the movie's writer was able to take a factual story and include

fictional love interest and personal crisis. Otherwise,

it probably would have been a very dull movie.

High Road to China

This heavily-hyped film is an example of what happens when a movie package is thrown together without a good story. Both Tom Selleck and Bess Armstrong are wasted in this floundering romantic action/adventure. The formula was all there, but the magic wasn't. The core of the problem, as in Temple of Doom, is that the female love interest is a bitch who never changes. In this film, there is absolutely no reason for Tom Selleck to fall in love with Bess. She's too tough to let the magic happen. The movie fell apart due to flaws in the characters. The screenwiters apparently wrote themselves into a trap.

Nobody was vulnerable. Nobody changed to become more than what they were. Nobody grew. The audience was treated to bickering instead of romance. The moviegoing public does not want to see bad male-female relationships in their

58 action-adventure films.

Under Ten Flags

In Under Ten Flags, we have again a sea chase. The

story here is concentrated around Van Heflin, the good man

who commands a Nazi pirate ship. This fictionalized true

story holds up well. The audience is treated to character

development, relationships, character change, issues and

action all in one movie. One issue arises when the captain

takes many prisoners on board, some of whom are Jewish

men, women and children. The Captain takes personal risk

in sending them to a free port instead of allowing them

to be taken back to Germany and face a concentration camp.

This little known film is an excellent sea yarn.

20,000 Leagues Under the Sea and Mysterious Island

Another older sea movie, dealing more with the

fantastic, is Walt Disney's 20,000 Leagues Under the Sea.

The film concentrates on four characters, all men, and

lacks a real feminine love interest. Women do not play any

important role here. The movie relies on its action partly

from the characters and partly from nature. For some reaso

films like this just don't make it anymore. Other films

using the infamous Captain Nemo as villain largely failed.

One successful use of the Captain Nemo character is in the

film Mysterious Island. Again, we have an adventure yarn

where the good guys must escape an incredible island by

sea. In an interesting twist, Captain Nemo turns out to be

' 0 59 a good guy instead of a villain. A feminine love interest is provided, along with minorities, and most of the action is caused by bad pirates or nature gone wild. This is mostly a "watch.out, here it comes!" type of film. Special effects play a large part in this imaginative film; such as giant chickens, monstrous crabs, huge bees, a big squid and primitive laser beams. However, this was not the kind of film the author wanted to write. The Poseidon Adventure The Poseidon Adventure, a very successful sea film of the 1970's was reviewed. Basically, the audience is given a handful of characters about whom they grow to care. The object of the film is to get our heroes out of the capsized ocean liner and back to safety before it sinks. This is an "I hope we can get out of here!" type script with man, nature and technology opposing the good guys. Actually, this film is not very different from Mysterious Island. Captain Blood The author also reviewed the original Captain Blood. This dated film moved well, concentrated on three or four characters and had a sea motif. Pirates were the center of action. A strong love interest was provided with Olivia DeHavilland. Here, we have love, romance, action, intrigue and excitement. The film could do no wrong with Errol Flyn as the lead. Das Boot A more recent sea film was reviewed. Das Boot was an

• t) 60 impressive film dealing with a U-boat crew under extreme pressure. This film had no central love interest and depended upon characters, character development, relationships and external action caused by forces hunting the U-boat. The author, three years before the release of the movie had read through the book upon which the film was based. Many of the scenes in the film were copied from actual war photographs which were found in the book. It wa an intense film with very little relief for the viewer. This is another example of an "I hope we can make it out of here" type film. Run Silent, Run Deep A similar, but older, film is Run Silent, Run Deep. It was taken from a novel and produced into an excellent film. Again, as with many war films, there was no female love interest. However, this film provided the audience with an intriguing mystery, strongly motivated characters, well done action sequences, relationships, clearly defined characters, character development and character conflict. In this film, the characters caused or willed the action to take place. The characters defined the story and plot. This was not the kind of film the author was shooting for. The author feels that this movie serves as an excellent example for conflict and drama at sea. At this point, the writer's advisor suggested he might look into the area of "film noir" as a possible course to take in writing the screenplay. The writer decided to

61 review several 1940's films of this genre.

The Maltese Falcon

One of the first films that the author rented was The

Maltese Falcon. This film is regarded as a landmark in the film industry. It's widely considered to be a classic.

Here, we begin with a mystery. The McGuffin or object which everyone wants, is the Falcon. We are given some action, murder, intrigue, suspense, relationships and character development. For once our hero, Humphrey Bogart, is a common Joe from the streets. In the course of the film, he outwits smart and pretentious villains, makes mistakes and gets burned in a deceptive romance. He ultimately comes out the winner in the end, maintaining his integrity. In a way, he takes a step up from where he started in the film.

To Have and Have Not

To Have and Have Not is another wartime Bogart movie. It is set in the Caribbean at a neutral port. Here

Bogart is again a common Joe. He manages a love story with

Lauren Bacall and becomes involved in action against the

Nazis. At first, he is a relatively uninvolved individual.

Later, he becomes involved in a non-profit cause and takes a step up. His resolution of the conflict with the bad guys at the film's climax allows him to return to what he really wants at the end; Lauren Bacall. The real reason that the uninvolved common man becomes involved and takes a step upward is usually due his desire for a woman in the

62 story.

Key Largo The author took a look at another Bogart movie. This was called Key Largo. It originally came from a stage play and again starred Bogart and Bacall. Here, Bogart plays an

uninvolved drifter, a war veteren, who visits the father and widow of a dead war buddy at their hotel. The place is taken over by sadistic gangsters who intend to kill everybody when they flee. Bogart, again a common Joe,

finally decides to take action when the nice people he cares about are abused and threatened with death. He moves from uninvolvement to involvement. At the climax, he dispatches the bad guys on a boat and turns back for Key Largo and, ostensibly, Lauren Bacall. This film ends much like ---To Have and Have Not. The hero's involvement was due mainly to his love for a woman. The author began to see some useful elements. Apparently, in action-adventure, one way to get the hero involved is by using a love subplot which coerces him into action. The hero must have someone or something to fight for. Personalizing his cause in another human being simplifies the situation. It's one technique which works effectively on audiences.

Witness

The author took time to view another fine film called Witness. Here, an uninvolved detective (Harrison Ford) is forced to flee the bad guys and hide out at an Amish farm. There, he recovers from his wounds and we see a love

63 story develop between him and an Amish woman. The bad guys eventually return and the hero fights them and wins. His reason for fighting is twofold; first to save his own life and second to save the lives of the Amish woman and her relatives. In the beginning, Ford is a rough edged common Joe from the streets. By the end, he decides to take a step upward from the streets, leaving the Amish woman because he knows his life would be bad for her. He does not make love to her because it would force him to stay in the Amish world for which he is not well suited. In the beginning, the old Amish farmer warns his daughter to beware of the English in the big city. In the end, the farmer says the same to Ford when he leaves; reaffirming Ford's having risen above the level of the streets. Salvador At this point, the writer's advisor suggested that he see two more films. One was Salvador. Here was a film which was not considered to be successful but had something working in its favor. The story focused around a journalist who was a real low-life. He found himself on assignment in El Salvador after he broke up with his girlfriend. There, we were introduced to his Salvadoran girlfriend and other likeable friends of his. The main character found himself under pressure from the sadistic and maniacal government. At first, he was uninvolved in the events of the story. But as his friends were killed and abused, he committed himself to action and decided to tell the world about the real story

64 in El Salvador. Again, part of the involvement was due to the love he had for his girlfriend and other friends who were killed or threatened. While not a great film, the movie worked in one sense. The down and out reporter who would have been nothing goes through a change that takes him to commitment and responsibility. In an interview with Bogart, the great actor expressed what the theme of all his films with John Huston were about. Bogart said, concerning Key Largo especially, that the theme was about commitment. The hero is really a sort of anti-hero who decides to make a commitment of some kind which will change his life in a positive way. Deadline The writer then saw the movie Deadline starring Christopher Walken. This film was suggested as an example of a mistake to be avoided. The hero is a journalist who arrives in Beirut. He starts out as an observer and ends up as an observer. He never takes personal action or commits himself to anything. The result was a dull movie which did not do well. There was no love interest and really no great pressure on the protagonist to change or commit himself to action. There was nothing valuable for the hero to lose. The hero was not colorful, either. He rather lamely walked through the war zone and hoped that nobody would kill him. Nobody actually wanted to kill him in the film. Since he was uninvolved with the environment, the environment threatened him but always let him go. This

' 0 65 made for a rather unengaging movie.

The Year of Living Dangerously

The Year of Living Dangerously was another excellent

movie of this genre. Again, we have a herojjournalist (Mel

Gibson) who arrives in the middle of an Indonesian

revolution. Gibson starts out uninvolved. He is also a

down and out failed romantic with no real purpose in life.

We are introduced to a character he cares about as a friend,

and then Gibson becomes romantically involved with Sigourney

Weaver, the main love interest. Through his personalized

involvements, he grows to care about what's happening in

Indonesia. He becomes involved. Somehow his involvement

with Weaver causes his involvement with his environment. Up

to now, his press cohorts have been drunkards, homosexuals,

low-lifes and whoremongers. Gibson decides to make a step

up out of his journalistic gutter and become more than what

he would have been. At the end, he takes a tremendous

personal risk. Wounded, he needs time to heal and must stay

put if he wants to keep his eye. But, if he doesn't meet

Weaver on the last flight out, he will lose the only love

he's ever found. He chooses to risk losing his eye and

meets Sigourney on the last flight out. This and the death

of a close friend make him take action. He decides to

become a responsible journalist and make a difference in the

world. He commits himself to his girlfriend and his

profession.

Before he could proceed any farther, the author read

66 . ~ several critical books on Hollywood films. One of the best books of this group was about Hollywood heroes. It exposed the myths of the successful Hollywood macho movies. It was this book which praised a Bogart and Hepburn film called The African Queen. The author immediately rented this film on video tape. He wanted to see what made it tick and what made it timeless. The African Queen To this point, the author had never seen African Queen. After reviewing the movie, he was deeply impressed. This film, archaic as it was, still worked. The hero, Bogart, plays a non-macho down and out alcoholic drifter who plies an African river on a little steamboat. Again, the setup is the same as in other successful films. Bogart is an uncommitted, uninvolved man who would not normally have amounted to anything. He's a wasted person. Hepburn plays a spinster who helps run a mission in an area where even the natives don't care. She's a wasted person who would not normally have amounted to anything more than a sqaure-jawed spinster. Suddenly, World War One begins and German troops from a neighboring colony arrive, wrecking the mission, dispersing the natives and causing Hepburn's minister brother to die. Bogart picks her up and they sail off onto the river together. Hepburn wants to get even with the Germans and decides to blow up the German ferry at the end of the river. She convinces Bogart to go along with her plan. During the course of the story, the crude Bogart

67 . ~ and the proper Hepburn experience a sexual awakening.

Eventually they fall in love. With Bogart's involvement

with Hepburn comes his reinvolvement with life. He commits

himself to a course of action with Hepburn. Together they

go through struggles and adventures, ending with their

success in sinking the German ferry. Both take a step up

in the world. Hepburn gets in touch with her femininity and

feelings because of Bogart. Bogart gets in touch with his

self confidence and inner strength because of Hepburn. In

the end, their commitment is to each other. Again, the

theme of the uninvolved becoming involved and the theme of

the uncommitted becoming committed is successfully carried

out in this story. This film has suspense, a well done love

story, action and drama. What makes it tick are the two

characters at its core. The story does not command them.

Their decisions determine the course of the story. Anyone

studying the actionjadventure genre should definitely see this movie. Other movies and stories have been built upon

it.

African Queen Motif in Contemporary Films

Much later, the author reviewed a pair of highly successful action/adventure movies. One was a Michael

Douglas and Kathleen Turner film called Romancing The

Stone. After reviewing it, the author was amazed to see how Romancing The Stone had borrowed from but not copied

African Queen. If the reader gets the chance, notice the outright similarities between the scene where Bogart and

68 Hepburn ride the rapids and the scene where Douglas and

Turner ride the mudslide. In both scenes there is a

symbolic sexual awakening of the repressed woman amidst a

turbulent and watery motif. Interestingly, water is widely

known to be the symbol of life. In both cases, the

characters are symbolically brought back into the "stream"

of life.

Romancing the Stone

Romancing The Stone was a successful modern example of

this class of movie. Turner plays a lonely, sexually

repressed romance novelist who fantasizes about finding a

hero. She's an unhappy lady. Douglas plays a dirty down

and out jungle con man searching for a way to get enough

money to buy a sailboat and sail away from the world. He's

a loner who's trying to escape from reality. The two

are thrown together in the search for a valuable gem and are

pursued by bad guys who want the gem. During the course of

the film, the hero and heroine are brought together and

separated time and time again. Initially, Michael Douglas

is an uninvolved and uncommitted bum. But it's the

relationship with Turner and the possibility of making money by finding the gem that gets Douglas involved and committed.

In the end, Douglas must make a decision. Should he let the alligator, who swallowed the gem, get away with his hope of buying a sailboat? or should he save Turner from the clutches of the villain? He decides on the latter course and love triumphs over money. However, after the conflict

69 is resolved, Douglas disappears in search of the alligator.

In the end, Turner and the audience don't know if Douglas will ever show up again. She's broken hearted. Suddenly,

Douglas pops up with his new sailboat and the two go riding away in it; a surprising, romantic and satisfying ending.

The movie utilized a common Joe, Douglas, who never would have amounted to much and showed how he changed.

He was an anti-hero who started out only for himself and took a step up by caring about the woman he grew to love.

Apparently, audiences love the rough-edged anti-hero misfit who manages to outwit the bad guys and win the girl.

The second recent successful film of this type was

Crocodile Dundee. Again, the hero was a simple, practical backwoodsman from the jungle. Again, he was somewhat of a loner, but tough and macho. Paul Hogan played this part well. He runs into a woman Journalist from New York and we are immediately made aware of their differences. However, in this film, the woman is romantically unsatisfied. Hogan takes her into the outback and the two become involved after he saves her life and performs other macho stunts.

She then takes him to New York. Their relationship is put in peril by the journalist's boyfriend who announces their engagement. Hogan decides to leave, but this time, in an unusual twist, the woman chooses to save their relationship.

The story was weak. The characters didn't change. And without Paul Hogan, the film would probably have bombed.

70 Elements of These Films Used in the Script

The hero, Rick Hogan, was designed as an drunken

common Joe who has retreated from the mainstream of life.

He's a burned out romantic hero. Since he's at the bottom,

he's all set to take a step up and become more than what he

is ..• which at the beginning isn't much. The heroine, Kettie

Boyd, is in the same situation. She has had an unfulfilling

love life, but comes from a well-to-do background. This is

a Lauren Bacall type character in that she's a tough-hided

woman who is romantically frustrated deep inside. Colonel

Slava is somewhere in between Captain Ahab and Darth Vader.

In the Hitchcock tradition, the hero is actually a victim of events. The environment disrupts his physical

and spiritual life, forcing him to awaken and take action to

save himself. His desire for Kettie causes him to stay

involved when the wiser course would be to disappear. In the end, love turns out to be more important than money.

The rewrite of the screenplay is intended to implement the lessons of the film reviews better than the first draft.

71 CHAPTER 4

The Writing Process

The writing process had several distinct phases. The

first was Inspirational. The next was the Outline Phase.

The third was the Treatment. The fourth was the character

study and backstory phase. The final phase was the First

Draft Screenplay. The main writing process lasted from mid­

January to mid-May, 1988.

The Inspirational Phase

The inspirational phase actually took place in 1981 when the author was inspired to save the TV news idea he saw and develop it into an experimental first draft. In late 1981, the writer had a conference with a producer who had read the experimental first draft. The producer remarked that it "didn't have the magic." He was right.

The project spent the next 6 years on the shelf with no success at any rewrites. In early 1988, the author decided to write an entirely new screenplay. This one would have a completely different story, a new set of characters and would be backed by heavy research. He decided to write an outline.

The Outline Phase

The outline was about 1-2 pages in length and gave

72 a very general view of the story. The characters of the

hero, heroine and villain were retained throughout the

project. The female love interest was given more emphasis

as the project developed. The outline was a little vague

and included an ironic ending which was not retained in

the screenplay. The idea of both heroes and villains losing

the treasure and returning in a sequel was, fortunately,

dropped. This plot device would have been a climactic

cop-out.

Meanwhile, research was being done a a rapid pace.

The research helped to develop the treatment into a viable

story and gave the writer numerous options. One problem

was character research. The author had only four sources

for character research; personal observation, nonfiction

stories, fictional stories and imagination. Since he needed

a stronger grasp of the story, the author decided to

initiate the Treatment phase before working in detail on the

characters.

The Treatment

By mid-March 1988, the author began writing the

treatment. Since the characters were, at this point, only

superficial creations, the treatment tended to emphasize

the technological and action aspects of the story. The

characters ended up growing out of the treatment. But at

this stage, the story was rather like a James Bond yarn;

based on sensationalism rather than character makeup and

realism.

' t.l 73 In the treatment, Kettie's father was a God-fearing

midget hillbilly millionaire. This was deleted after more

than one critic informed the author that this aspect clearly

distracted from the story. In the script, her father was

changed to a shadowy, underworld casino owner. The Soviet

attack on Boyd's mansion and the San Francisco sequences were deleted due to their lack of credibility.

The treatment was designed in three acts. The first act was left essentially intact. The second act was changed and moved from San Francisco to Tahoe, California.

The third act was left the same except the Norwegian salvage company was moved from Norway to Vancouver, B.C.

The writer's three advisors gave him detailed and accurate feedback about the treatment. Many weaknesses were pointed out. Positive aspects were also given attention. Some of the characters would be deleted or changed. Other new characters would be introduced. At this point, the author began work on the character studies.

Character Studies and Backstories

The writer found the character studies and backstories to be helpful in this project. They can be found in the appendix. After completing them, he finally had some clear parameters to tell him exactly what the characters would and would not do. He sent in the character studies to his advisors and received moderate feedback on them. He was given the go ahead to begin the screenplay. The writer

74 also realized that the story and, perhaps, the characters would change during the course of the screenplay. He began work. During the course of the screenplay, the character of Slava became less wordy and more menacing. Misha, the villain's assistant, changed from a monstrous maniac into a more normal character. Mr. Boyd, as indicated ealier, changed from a midget into a regular sized, crude, cigar chomping mafioso character. Thor was conceptualized as a playboy, millionaire salvager and ended up as a techno­ genius with spectacles a la Hardy Kruger.

Overall, creating workable characters was not easy.

Hogan was based on the author's brother and several other common Joe types he had met. Kettie was based on four or five women that the author had met. Their experiences were combined into one character. The character of the villain,

Colonel Slava, was based on that of several KGB agents that the author had read about. The real basis for this character was taken from people whom the author had met at one time or another. Other characters were created from observation or by reading magazines articles about the international scene. Often, the author had to use his imagination while developing the characters. Many times, he put himself into the shoes of the characters to help figure out how they would speak or act. The main characters were provided with exhaustive backstories to develop a clear concept of the individual. Little of the information provided in the backstories and character studies was used

75 in the dialogue or action. It must be noted that, without the backstories and character studies, the screenplay would have been very difficult to write. The First Draft Screenplay Over a period of several weeks, extending into early May of 1988, the writer worked on and completed the first commercial draft of The Wreck of the Admiral Nakhimov. The draft did not turn out as the writer had originally expected. It may also be found in the appendix. The first act of the draft seemed strong while the author was less enthused about the middle and final acts of the screenplay. Later criticism showed this suspicion to be correct. Two advisors agreed that the middle and end of the screenplay tended to be weaker than its beginning. A major criticism was that the hero began as an active participant in the story and, by the end, had become merely an observer of events. Another criticism was that the hero and heroine had a relationship which was never seriously threatened by anything. Rick and Kettie were never broken up and then brought back together towards the end of the story. Successful movies of this type made certain to break up the love interests and then reunite them in the third act. The writer decided to resolve this in the rewrite. Another criticism focused on the hero. One advisor said that the hero starts out as a common slob and becomes

76 Mr. Slick, remaining that way through the end. He recommended that, instead of remaining Mr. Slick, the hero revert to his common slob origins by the end of the story. A subplot, which was not in the treatment, was added to the first draft. This concerned a band of Japanese hoods who wanted the diary, too. They were brought in and then wiped out very fast. They never really added to the plot and served only to lengthen the story and sidetrack the screenplay. The author decided to correct this in the next rewrite by eliminating that subplot. There were also objections to cartoonish elements in the script which could have been distracting. One advisor called them "Tom and Jerry" scenes. Upon reviewing the first draft, the author did indeed find some scenes in the second act which were outlandish or distracted from the overall continuity of the work. The author made notes for changes. Overall, the main problem was to redesign the second and third acts. Both needed to be as strong as the first act. The characters stopped controlling the events by the middle of the script. The hero and heroine had to be pulled apart and then rejoined by the end. The characters had to take command of the story and will the events to happen. Many changes would be made in the future.

Thus ended the writing phase of The Wreck of the Admiral Nakhimov.

77 BIBLIOGRAPHY

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78 Faiman, Peter, dir. Crocodile Dundee. With Paul Hogan and Linda Koziowski. Paramount, 1986. Fisher, Mel. Treasure of the Atocha. New York: Pisces Books, E. P. Dutton, 1986. Fleischer, Richard, dir. 20,000 Leagues Under the Sea. With Kirk Douglas and James Mason. Disney, 1954. Gilbert, Lewis, dir. Sink the Bismarck. With Kenneth More and Dana Wynter. Twentieth Century-Fox, 1960. Gutman, Nathaniel, dir. Deadline. With Christopher Walken. Creative Film GMBH, 1987. Hawks, Howard, dir. To Have and Have Not. With Humphrey Bogart and Lauren Bacall. Warner Brothers, 1941. Helm, Leslie. "Would You Give This Man the Nobel Peace Prize?" Business Week, 28 July 1986: 80-81. Hemmings, David, dir. Treasure of the Yankee Zephyr. With Ken Wahl and Donald Pleasence. Artists Releasing, 1983. Huston, John, dir. The African Queen. With Humphrey Bogart and Katherine Hepburn. Horizon Enterprises, 1951.

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' ~ 79 Latil, Pierre de, and Jean Rivoire. Man and the Underwater World. New York: Putnam, 1956.

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' ~ 80 Soule, Gardner. Undersea Frontiers. New York: Rand McNally, 1968.

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81 APPENDIX A

Outline

The Russian cruiser Admiral Nakhimov sank off the coast

of Japan in 1905. She was rumored to have been carrying gold and platinum when she went under.

This is the story of a Soviet sailor, Vladimir

Ivanovich, who jumps ship in the South Pacific. Vladimir has a diary containing the location of the Admiral Nakhimov

and the key to finding its treasure. Vladimir is picked up

by men working for a Japanese mobster. As they prepare to take him away to Japan, a Russian sub appears and sends a

KGB hit squad after Vladimir in order to get the diary.

Leading them is KGB Colonel Slava. Vladimir escapes and meets a voluptuous American woman diver named Dixie. She takes him to her father's salvage company at Truk. They end up going to West Berlin to get financial backing at a treasure hunting convention. A group of divers and a crew are raised. The good guys head for the Tsushima straits, locate the wreck and recover the treasure. Suddenly, the Russians return to capture their vessel. A sea battle takes place and both sides are sunk in the fight. The gold goes under and the main characters return in a sequel.

82 APPENDIX B

Story Treatment for the Screenplay

"THE WRECK OF THE ADMIRAL NAKHIMOV"

83 STORY TREATMENT

An old ex-Navy LCM churns through the morning light in tropical waters. On her side are painted the words

"Hogan's Express." Rick Hogan steers the LCM from the flying bridge in the open air. He looks like a real loser.

His clothes are dirty and he wears an old baseball cap and high-topped tennis shoes. He sips his favorite breakfast drink from a bottle of Yukon Jack. A ghetto blaster plays

"Baby I Need Your Loving," by the Four Tops, in the back­ ground. His face hovers between a five o'clock shadow and a ragged beard. A DJ from a station on Guam begins the morning news for the u. s. Trust Territories. Rick's dog, a mutt whom he calls "Grog," ascends the deck hatch. Grog carries a can of beer in his mouth and sits down plaintively in front of Rick. Rick takes the beer can, opens it, and pours it into Grog's bowl. "Here you go, Grog," he says.

The dog, hung over as badly as Rick, moves slowly to the bowl and begins lapping up the beer.

We see the LCM approach a small, palm covered island.

A wood pier looms into view, with a settlement behind it.

Rick presses the horn button and announces his arrival. The

LCM pulls up alongside the pier. Rick throttles back and cuts the engines. A native arrives and Rick throws a line to him. The LCM is secured to the pier.

Rick lowers a ladder and descends to the pier. Next, he arrives at the settlement. It is made of tin and grass

84 huts. A sign says "Boyd's Import-Export Company." Here,

Rick meets with Bob Boyd, a spectacled grandfatherly type for whom Rick makes pickups and deliveries once every two weeks. Rick is doing business as usual. Bob offers him breakfast with himself and his niece.

At the breakfast table we are introduced to Kettie

Boyd, a woman in her early thirties. She is a filmmaker shooting an anthropology documentary on Pacific Islanders.

She's been living on the island for a year. One can tell from her mannerisms that she is both attracted to and repelled by Rick. She is offended by Rick's poor table manners. We learn that Kettie is a poor little rich girl who is being funded by her wealthy family while out in the middle of nowhere. Soon it is time for Rick to leave. We see him and the LCM pull away from the dock and churn off onto the horizon. The LCM passes a large Soviet merchant ship on the way. It is now night.

on board the Soviet freighter, a crewman dons a life jacket as he looks at the island. He pulls out a small diary, places it into a ziploc bag, and stuffs it into his pocket. He makes sure nobody is looking his way as he begins to climb the railing so he can jump ship. Suddenly, the ship's political officer, another name for a KGB agent, appears behind him and orders him to freeze. The KGB man has a gun. Slowly, without getting down, the crewman turns around and faces the KGB man. He suddenly flips out a stiletto and launches a spring-loaded blade into the KGB

85 agent. The blade hits the agent in the chest. The wound is fatal. With his final breath, the KGB man fires a shot into the defector's stomach. The defector falls overboard into the ship's wake. The KGB agent crumples to the deck as other crewmen scramble on deck to see what happened. The next morning Kettie is filming on the beach. As she pans her camera she is startled by the sight of a life­ jacketed body lying face down in the surf. The body is brought to the settlement and laid out on a table beneath a blanket. Bob and Kettie go over the corpse's effects. They find a wallet with a name and iden­ tification. They also find the small diary and remove it from the plastic bag. It is written in cyrillic, which Kettie correctly guesses to be Russian. Bob decides to inform the local Mandate Police by radio. Unfortunately, the Russians are listening in. We see a trawler mother ship plying the sea. In its bowels, in a KGB communications center, the news of the body is relayed to Colonel Grigori Slava, the local area KGB Chief. Slava, well dressed and very western in appearance, sporting alligator shoes, realizes that speed is of the essence. He summons a hit team for a "wet" operation. They will carry guns and search Boyd's Island for the dead sailor's diary. The diary, he tells them, contains the information needed to find a treasure worth over six billion dollars. With this wealth, the KGB will be able to prose­ cute a limitless covert war at a time when the capitalist

' ,, 86 West is too broke to put out dozens of worldwide guerilla wars. The handful of people on the island will be shot and the operation disguised to look like an act of piracy or drug runners. The next morning Rettie prepares to go scuba diving in the lagoon. Bob, concerned about the importance of the wallet and diary, dumps them into an old empty bombshell which he used for an impromptu safe, since it is still marked "High Explosives." Rettie picks up her camera and makes her dive into the lagoon. As she descends underwater, she is startled by a pair of small, high-speed skiffs which roar across the water only a few feet above her. She hears the muffled sound of gunfire and an explosion or two. She cautiously rises to the surface to take a look. She watches the settlement being ransacked by 8 to 10 men wearing ski masks and carrying small arms. Bob and several natives lie lifeless in the sand. One of the men methodically finishes off the dead, making sure to put a bullet into each body, just to be sure. Rettie is terrified and shocked. There's nothing she can do. The bad guys dump a few small plastic bags full of cocaine around the corpses. Slava watches the sea from the pier. As he walks down the pier, Rettie eyes him nervously. His back is turned to her, but she notices his alligator shoes immediately. One bad guy checks the huts but comes out shaking his head in disgust. Slava approaches the wet team and, at this point, Rettie makes the decision to go under and wait them out. The bad guys

' \:1 87 set fire to the settlement and jump into their skiffs. One of them notices something on the beach and calls it to the attention of the others. It is a spare scuba tank. The skiffs slowly motor out into the center of the center of the lagoon. Kettie tries hard to control her breathing, so as not to make bubbles as the bad guys pass overhead. One skiff stops above her and, suddenly, an ugly man's face shoves itself into the water to take a look. He sees Kettie immediately, but cannot go after her. She sees him and dives deeper, as fast and as far as she can. The bad guys are not equipped for diving, and cannot hang around. They speed away in their skiffs.

A few hours later, Rick arrives in his LCM. He is worried by the lack of response to his horn. Then, the whole scene comes into view. All that is left is smoldering rubble and bodies. He activates the radio and tries to raise the authorities, but gets only white noise. He grabs his automatic rifle and docks the LCM. He runs to the scene of the massacre and looks it over, noting the tracks and the skiff marks on the beach. Kettie, dazed and in shock, steps out of the brush. "Eight men," she says. "They killed everybody. I was diving." Rick picks up one of the packets of cocaine and realizes something is wrong. "If they were smugglers, they wouldn't have left this behind," he says. He wonders aloud what they were after. Kettie hands him the diary and the wallet in silent response to his thoughts. "Let's get out of here," he says, but

88 Kettie wants to stay and do something about the bodies. Wisdom prevails, and the two are soon to be seen speeding out to sea on the LCM. Rick explains that when the police heard about the body washed ashore, they radioed him to turn back and pick it up. Again, he tries to raise the authorities, but he keeps getting some kind of hum. Back on the Soviet trawler, the radio monitors keep jamming the airwaves. Colonel Slava is informed of Hogan's attempts to use the radio. Since they intercepted the police signal to send Hogan back to the island, they know who he is. Slava looks at his computer intelligence file on local islanders. Hogan's name pops up along with photos of his boat. The information includes a blurb that Hogan is known to be well armed. Slava realizes the wet team will have trouble taking Hogan out, especially after the raid on Boyd's Island. Worse still, Kettie Boyd is alive and sure to be with Hogan. But there is a silver lining in all this for Slava. Kettie must have the diary. And, as long as it is untranslated, there'll be ample opportunity to retrieve it before anyone else discovers its secret. The ugly man, big and tough, goes by the name of "Mischa the Bear." Slava instructs Mischa to activate a sleeper scratch team of local Polynesian thugs to attack the LCM before it reaches Ponape, the nearest safe destination. "Hogan is at a disadvantage," says Slava. "Since we're jamming him, he must head for the nearest port." "But," he adds, "our scratch team will be dressed as policemen

89 and riding a speedboat with police marking. Then we will be done with this tiresome operation." He moves to the radar scope and watches Hogan's LCM twenty miles away. "I see you, Mr. Hogan," he grins. Slava checks his data on Rick

Hogan and notes that Hogan's radio is a transceiver. He listens as Hogan tries to transmit through the jamming. He then orders one of the operators to activate Igor ••. a very special device. A directional antenna is pointed at Hogan's ship. A large auxilliary generator is started up to provide

30 megawatts of transmitting power. Slava instructs the operator to burn out Hogan's radio.

Back on the LCM, Hogan switches his radio to the

"receive" mode. Suddenly there is a loud hum and his transceiver starts smoking and arcing. He shuts it off.

Brushing away the smoke, he realizes what's happened.

"They must have a helluva power source," he exclaims,

"they just burned out the antenna coil."

"Can't you still transmit?" asks Kettie.

"No, in a transceiver, both the transmitter and the receiver use the same antenna coil. You can write off the radio."

That night, Hogan turns on his surface radar. He tells Kettie that he thinks the radio was being deliberately jammed. He mentions that the Viet Cong used to do the same kind of burn-through tricks when he piloted river gunboats in Viet Nam. He tells her that they must reach Ponape.

She wonders if that's wise .•• if they're being jammed by

90 the bad guys, wouldn't the bad guys also be tracking the LCM by radar?

A chill runs through Hogan's body. He realizes he's been stupid. He tells Kettie to hold the wheel while he goes into the wheelhouse. He descends a ladder in his radio shack and rustles through the mess of junk. Finally, he finds a large cardboard box and lifts the heavy object up to the chart table. He rips open the box, exposing and old piece of equipment marked "US NAVY." From above, Kettie asks what he's doing. As he hooks the electronic device up to his antenna system, he explains that it is an obsolete detectorjjammer unit given to him by a Navy buddy. "If we are being tracked, and this device works, we'll know," he says, "and if we must give the bad guys the slip, the jammer will flood their radar screen with garbage." Rick finishes the job and flips the power switch. The device activates and starts scanning across frequencies. Suddenly, a telltale wave appears on the scope. "Sonuvabitch," he mutters, "we're not gonna' be heading for Ponape with dudes like that out there. When I tell you, steer due north." Back in the Soviet trawler, Slava grins as he watches the radar blip on the screen. "Good," he exclaims, "at dawn we'll have him." Then, suddenly, the blip on the screen turns into two blips .•. then four. Slava's mouth opens incredulously. Within seconds, the screen is filled with hundreds of bouncing, streaking blips. The radar operator tries to readjust his scope. "I cannot reacquire

91 the target, sir." "A jammer unit," Slava reckons, "the report said you were a bum. It didn't say you were smart! Damn!" on the LCM, Hogan shuts off his radar to keep from being detected. "We're going to Truk," he tells Kettie. "They're Russian. I could tell by the way their radar painted us. About twenty miles off. In twenty minutes we'll be below their horizon and I'll turn off the jammer." "And then what?" Kettie asks. "And then we cross our fingers," he replies. Kettie finds a cot and goes to sleep.

"Colonel. •. the screen is clear," reports the Soviet radar operator. Slava tells the helmsman to steer north­ east to find Hogan. "He's not stupid. We won't find him making for Ponape now. North •.. perhaps Truk? He's good but, I think, predictable." Slava instructs the commu­ cations operator to contact Moscow and request a morning satellite scan of the area, to look for Hogan's vessel. The next morning, Hogan awakens at the wheel to the sound of Grog barking furiously. Kettie is in the midst of throwing the last of Rick's beer and whiskey overboard. Hogan starts to protest, but she cuts him short. "If I don't shape you up, we're both going to die," she exclaims. Then she hands him a portable electric razor. "I found this in your cabin, if that's what you can call that rat's nest down there. Use it." Hogan, somewhat taken aback at her assertiveness, thinks about it, and starts shaving.

92 "I don't know who's worse, you or the Russians," he mutters to himself. Grog whines and trots below deck. Later, a weather front begins to move in and the sea becomes choppy with whitecaps. The wind is now up and the sky lowers fast. Kettie takes the wheel while Rick starts securing deck hatches and equipment. "Is it bad?" she asks. "I'm not sure," he replies. She asks if this boat of his will be able to take it. "It better," he responds, "or I'll never hear the end of it." Back onboard the Soviet trawler, Slava activates a videofax printer. A fuzzy picture of Hogan's LCM rolls out into Slava's hands. Slava smiles. "And the direction?" he

asks the communications officer. "Due north, sir," the man replies. Slava points at the map and nods. "Truk." That night, the LCM ploughs through sheets of rain and heavy seas. Hogan has moved into the wheelhouse and has

strapped himself to a railing, amidst the rolling and pitching. Hogan is ill, which is rare for him. It takes

quite a storm to make him sick. Kettie stands beside him, helping him with the wheel. She is completely unaffected

by the storm. "You've got the iron gut of a sailor," he remarks with subdued admiration. She responds with "You're doing a pretty good job for an ex-wino." As the short scene continues, and the boat groans and creaks, the conversation between them begins to use the word "we." The next morning the sun is again shining down on Rick

and Kettie as they sail through more placid seas. Kettie

93 ' ~ suddenly sights land. Rick identifies it as Fourup Atoll,

marking the south pass to Truk. Rick adjusts his course.

Suddenly, they hear the sound of a siren and speedboat

engines. Hogan picks up a pair of field glasses and sees

four natives, all policemen, riding toward the LCM in a

police speedboat. "Looks like Truk police," he says.

Kettie gets uptight. She wonders if they're real. Rick

tells her to crouch down where she can't be seen and take

control of the engine throttles. If there's any trouble,

Kettie is to give the LCM full power. Hogan stands behind

a protective bridge mantle. He reaches into a box and pulls

out a hand grenade, pulling the pin but keeping the handle

depressed. He puts his gun next to his leg and picks up a

bullhorn with his free hand.

Inside the speedboat we see that three of the men have

weapons; two submachine guns and a grenade launcher. The

pilot picks up a bullhorn as they motor closer to the LCM.

"Identify yourself," demands Hogan.

"Lieutenant Uriba, Truk Police," replies the pilot.

Rick asks what the problem is. Uriba tells him he's under

arrest for suspicion of murder on Boyd's Island, as the

speedboat motors closer. Hogan asks if he knows Captain

Malaluan at police headquarters in Uola Roads, Truk. Uriba

pauses, smelling a yes;no trap. He avoids the question

and tells Rick to stop engines and heave to. Rick asks the

question again. Uriba replies that he knows Malaluan.

Hogan tells him to come aboard the LCM. We see Rick release

• • 94 the lever on the grenade and hurl it into the speedboat.

He dives for the deck as the four thugs open fire. Bullets hit the superstructure and a badly aimed grenade shell blasts the LCM's side plating. Rick doesn't need to say

.anything. Kettie gives the LCM full throttle. The four men in the boat jump overboard at the sight of the hand grenade. The LCM surges forward while the speedboat momentarily sits dead in the water. Seconds go by and nothing happens. The LCM churns to safety past the south pass. "A trick," Uribe screams. The thugs swim back to the boat and begin to climb over the gunwhales. (Long shot on the speedboat). The grenade goes off, and the speed­ boat shatters amidst a fireball.

Colonel Slava, watching all this through field glasses on top of Fourup Atoll, lowers his binoculars and shakes his head, acknowledging his mistake in using outsiders. He watches the smoking LCM disappear over the horizon.

"Amusing," he comments. We know our heroes will not be so lucky next time.

On the LCM, Rick and Kettie breathe with relief as they put out the smoldering debris on board. Rick mentions the grenade was a slow burner, a trick the vc had used in the Mekong Delta. Then Hogan discovers Grog, quietly dying of wounds in a corner of the ship. He gently pets Grog as the dog dies.

Later, at Moen, Truk, Rick and Kettie tell their story to Rick's old friend, a police captain. Captain

95 Malaluan had died several years before. Kettie and Rick show the diary to the captain, but there are no Russian translators on Moen. Kettie wires her relatives in

San Francisco, and makes arrangements for she and Rick to fly back to the States. Rick takes the time out to sell the

LCM for ready cash. He finishes up by getting a haircut.

As he is leaving the barber's chair, Kettie drops in. She is amused by his haircut and mentions that he looks more professional now. She hands him the plane tickets and says,

"we're in this together now." The police captain cuts through some red tape for Rick and agrees to handle the cleanup on Boyd's Island. Hogan promises to keep the captain informed of their findings. Then we see Rick and

Kettie board a 747 at the Moen airstrip and depart for

San Francisco. Mischa watches, and enters a telephone booth to make a call.

Next we see a map of the Pacific Ocean. An arrow traces a route from Truk all the way to San Francisco.

Exciting music plays in the background. Images of Colonel

Slava dissolve in and out of the map as he attends a high level Politburo meeting, makes plans, pounds a fist on a table, shouts over the 'phone, and boards an airliner.

We see an establishing shot of San Francisco. At the

San Francisco International Airport, Rick and Kettie exit through the main terminal, escorted by a pair of bodyguards and a chauffeur. The chauffeur informs them that Kettie's father, Mr. Boyd, has arranged for their protection. He

96 leads them to a limousine and they drive away. Lurking at a 'phone booth is what appears to be a heavy set soviet agent dressed as a cab driver. He rushes to his station wagon taxicab and climbs in. He zooms off in pursuit of the limousine.

Inside the cab, we learn that Mr. Boyd has summoned a university professor to examine and translate the diary upon their arrival at the Boyd estate. As the limousine drives up one of the hills, a Volvo suddenly darts out in front of it, screeches to a sideways halt, and blocks the way.

Instantly, a pair of Volkswagens screech to a sideways halt behind the limousine. As the Chauffeur shifts into reverse, one man from each of the blocking cars gets out. Each is carrying a Czech machine pistol. The three men open fire as the limousine passengers duck beneath the closed windows.

A shower of bullets rips into the limousine as it backs onto the sidewalk for a downhill Y-turn. The car looks like a rolling sieve. But inside, the bullets are not breaking through the windows or the car body. "We're bullet proof ..• for a while," shouts the chauffeur over the din.

The car tires are blown out as the chauffeur shifts into drive and peels out down the hill, the car running only on the wheel rims. The assassins can't believe it as they stop firing due to running out of ammunition. The limousine swerves onto the sidewalk and clangs down a steep concrete stairway. The killers get back in their cars and high-tail it up and over the hill. The limo turns a corner,

97 clanking and smoking through city traffic. "Welcome to San Francisco," grins the chauffeur, to which Rettie replies, "You're taking this all in stride." "That's because I used to ride the bus," he laughs. Establishing shot of a mansion on a hill overlooking the Golden Gate Bridge. Outside, down the street, the heavy set taxi driver waits silently in his cab. Inside the mansion on a basketball court, Mr. Boyd, who is a midget, is dressed as a referee. He is officiating a basketball game between dwarfs and midgets. At the end of the game he greets Rettie and Rick and makes it a point to thank Rick for saving and looking after his daughter. Then they go to a study where Professor Zucharski awaits them. Rettie hands him the diary and the wallet. Zucharski looks at the contents of the wallet and notes that the dead man was a sailor in the soviet Merchant Marine. Overall, he finds nothing special. But then he looks at the diary. "Ahh ... ," he says with increasing interest. "The Wreck of the Admiral Nakhimov." He begins dictating the diary to Mr. Boyd's secretary. Dissolve to sepia-tone silent film footage with exciting Russian background music. This is the only flash­ back sequence in the film, and it is here because it is vital to the story. Additionally, this will keep the audience from getting bored by more conversations. Here, we show what happens while Zucharski narrates. The sequence will tell this part of the story in about five minutes.

98 In 1905 Czarist Russia was at war with Japan. They

sent their battle fleet halfway around the world to fight

the Japanese Navy and save their army at Port Arthur, China.

But the Czar had a problem. He had to send payment for his

fleet, and the coal it received, and payment for the expensive war, to Hong Kong. Now, he couldn't send it by

rail or overland because it was not possible or, at best,

too dangerous. So he decided to put gold and platinum in

the cruiser Admiral Nakhimov. Once the cruiser arrived in the Orient, it was not to fight the Japanese but, instead,

go to Hong Kong and offload its precious cargo.

But the Czar had another problem. The crews of his

warships were known to include many mutinous malcontents

and ex-prisoners. If they suspected the gold and platinum

were on board, they might mutiny and take the treasure for themselves. The Czar was fighting a war, so he had neither

the time nor the resources to chase them if they pirated the gold. So a clever plan was devised. The czar had the ammo

magazines of the Admiral Nakhimov offloaded. Then, the gold and platinum was recast in the shape of 6-inch naval

shells. Since gold and brass look alike, the crew would assume these to be ordinary brass shells, and not suspect

that they were actually solid gold. The gold shells were

loaded into the ammo magazines. And only one man in the

Russian Fleet knew the secret .•. the old admiral (his

name here is not important). When the fleet neared Hong

Kong after crossing the Indian Ocean, the old admiral would

. ~ 99 order the Nakhimov to leave the squadron and proceed on to

Hong Kong. But fate intervened. Off Indo China, the old

admiral had a stroke (a true incident) and was paralyzed.

He never gave the order for the Nakhimov to depart. So,

the Nakhimov continued on with the fleet into the Tsushima

Straits, between Japan and Korea, where she was badly

damaged in the ensuing battle and scuttled by her crew.

Now one man, a gunner, was the only man to survive a

hit in one of the gun turrets. Heroically, he kept loading

and firing despite his wounds. Then, a strange thing

happened. He loaded a shell but the gun would not fire it.

A dud, he thought. So he tried again with another shell.

Same result. And it happened with a third shell. Then, as

the order to scuttle and abandon ship was given, the gunner

noticed that the shells which failed to fire were heavier

than the earlier ones that worked. This bothered him.

Then, upon abandoning ship, he thought no more about it

for the moment. He spent the next year in a Japanese

prison camp on Kyushu. During his confinement he often

reflected back on the battle. And all he could think about

were those shells.

The old admiral, very ill, had died on the night

before the battle. The gunner and many other prisoners of

war were repatriated to Russia after the end of the war.

He and the other survivors of the Nakhimov were extensively

interrogated as to the location of the wreck. The czar was

overly interested in finding it. But, since the cruiser

. v 100 went down in Japanese waters, the Czar was not willing to

tip his hand lest the Japanese should recover the treasure.

Years later, during the Russian revolution, the czar was

killed. The gunner finally put the pieces together while

observing revolutionary soldiers shoot in a skirmish. There

were brass cartridges all over the street. He picked one up

and, for a moment, both his ring and the shell reflected

in the sunlight. They looked exactly the same. But his

ring was gold. He realized that those Nakhimov shells must

also have been gold. So, he wrote this diary for the time

when he or some member of his family could escape to the

West.

Zucharski finally comments (as we are now back in the

study) that the Soviet sailor whose body washed ashore on

Boyd's Island, was the gunner's grandson.

"No wonder they wanted this diary," exclaims Kettie.

Hogan mentioned that he had heard of the Admiral

Nakhimov. A few years earlier, a Japanese expedition dived onto her but found only an empty safe and iron ingots.

He said that divers always avoid ammo because, even if it's old, it can be very unstable. Besides, they must have assumed the ammunition to be quite regular, certainly not gold, and that was why the Japanese came up empty.

Mr. Boyd does some quick calculating. He says, "Son, we're looking at billions here."

Meanwhile, at an undisclosed location, Colonel Slava examines the plans to the mansion. He points his finger to

101 an old access tunnel leading below the basement. The plans show the tunnel to have been bricked up 75 years ago. He instructs his men to gain entry to the tunnel, knock open the bricks and dispose of everybody in the house. He tells

Mischa to find the diary and bring it back. "Succeed!" he intones.

In the meantime, Rick is on the telephone to Norway. He finishes his conversation and hangs up. "I've just talked to an associate I met in the ·salvage business. He's the best in the world. Can you get us some passports, visas and tickets to Norway?" Mr. Boyd sets about to use his influence to cut through the red tape and get on the matter at once. Later Rick is taking a shower. A shadow slowly looms up behind the shower glass. A figure holds what looks like a knife. Rick doesn't notice. Suddenly, the stall door opens, and there stands Kettie in a bathrobe, holding a backbrush. "Did I startle you?" she asks. "I thought you might need this." "Thanks," he replies, "You're quite a lady." She turns off the light. Later, in the basement, a brick pops out of the wall.

Soon, more bricks come popping out onto the basement floor.

A large hole opens up in the wall. Six men, all carrying machine pistols and knives, come out of the hole and cross the basement floor. They ascend the basement stairs and open the door at the top.

One killer pokes his head into the hallway and crosses

102 to a side door. He opens the door and finds the circuit

breaker panel. He switches off the alarm system and all the

power. The house goes dark. The killers put on night vision goggles and get moving through the mansion.

Boyd's two bodyguards see the porch light go off and they realize somebody got to the power. One runs to the house while the other rushes for help.

Inside the house, the chauffeur, pistol in hand, steps out of his room. One of the intruders fires an auto­ matic burst into his belly at point blank range. The chauffeur goes down, raises his pistol and fires, missing the intruder. The intruder finishes the chauffeur off with another short burst. Three intruders mount the staircase to the second floor. But Rick and Kettie are alert. They take the dumbwaiter shaft down to the garage. Mr. Boyd, crouching in his study, watches two goggled assassins scan the room. He takes a book of matches, ignites it, and hurls it into the middle of the room. The killers are momentarily blinded by the washed-out image and sweep the the room with machine gun fire. Boyd manages to crawl out through a doggie door onto the lawn.

Boyd's bodyguard enters the house, toting his own

Uzzi. He has a one-sided duel with three of the killers. He shoots one, but is hit in return and goes down. In the study, Mischa finds the diary and pockets it. He runs back to the cellar, exiting through the hole in the bricks. Rick and Kettie rush out through the side door to the garage.

103 Across the street, Slava waits by the access tunnel. Mischa comes out with the diary. There is gunfire corning from the house. Slava watches three figures crawl rapidly across the lawn. Suddenly the taxicab bursts into view and screeches to a halt on the lawn. The other bodyguard fires while Rick and the two Boyds climb into the taxi. The taxi peels out. Police sirens can be heard in the background. Slava signals his men to depart. He motions one pickup truck and driver to proceed to the house and pick up the

"wet" team. The truck roars up to the front porch. Slava pulls out a small transmitter and flips a switch. The truck detonates and the house is blown to kindling. Debris rains down on the whole area. Slava and Mischa get into a car and drive off.

The next day we watch a TV news report of the disaster at the mansion. We see a wide shot of the room with the TV.

There is a portrait of Lenin on the wall. The Soviet

Consul-General is chewing out Colonel Slava. "A bit heavy­ handed, wouldn't you say, Colonel?" "Yes," replies the Colonel, but we got the job done. Now we know the secret."

"This is the era of good public relations, Colonel!

If they link this exercise to us, it'll be your ass!"

"Sir," Slava interjects, "Three people got away last night. Two can tell Moscow that somebody is going for that treasure. And they won't wait long. My sources have it that they're going to Norway. If we can slow down their expedition, we might be able to recover the gold first."

104 "And what about the Japanese? Do you think they're going to let us steam into their waters and take it?"

"Only if they see us, comrade," Slava smiles. One can see he has a plan.

An establishing shot of Alta Fjord, Norway. We follow a helicopter through the fjord, past craggy granite peaks.

The helicopter lands at Alta Field. A jeep rushes up to the chopper. Rick and Kettie exit the plane and climb into the

jeep. They shake hands with a big Norwegian man. Rick

introduces him as Thor Bergen, owner of the best salvage

company in the world. The jeep drives along a quay and

heads toward a large, docked ship. We learn that Thor has been instrumental in deep sea oil rig installation, repair

and maintenance out in the North Sea. In addition, he was

one of the key men involved in the recovery of the Edinburgh gold. The Edinburg, like the Nakhimov, had gone down in

battle with a load of Soviet gold. Almost all of it was recovered, but most of the haul was split between Russia

and England. What Thor received was enough to build and

outfit a new ship ... a ship like no other in the world.

"And there she is ... the Oden," Thor motions proudly. The three exit the jeep and walk along the deck to the

Oden's gangplank. We are introduced to what the Oden can do as they take a tour of the vessel. We see huge generators

and winches. A crane is busy hauling a huge diver's house

into a cargo bay. Since the Nakhimov is known to be in 300

feet of water, the divers will be able to work longer

' ' 105 without going through decompression. They will live on the sea floor. We see complicated remotely operated vehicles

which are used to dive, survey and aid the divers. They

operate from a tether and are controlled from a nerve center

on the Oden. We also see a manned submersible and a manned pressurized robot suit, in addition to a stockpile of weapons for self-defense.

Thor takes Rick and Kettie to a conference room aboard the Oden. There they discuss the major obstacles during a slide show. They have one main problem ... A Japanese

billionaire named Hasagawa still owns the salvage rights to

the Nakhimov. His claim is still good, since the Nakhimov rests in coastal waters next to Japanes soil. Although the

recovery of the treasure will be hard, it cannot be done at

all unless the good guys have the rights. As for the

Soviets, Thor says they're too greedy to share it with

anyone. Thor wants his chance to get even with the Soviets

for taking so much of the Edinburgh's haul. But how do they get the rights without tipping their hands to Hasagawa? We

discover that Hasagawa is a big gambler who often visits

Macao. It's up to Rick, Nettie and Thor to make him sign

over his claim. Meanwhile, the Oden is loaded with some mysterious

equipment on deck. Thor's legal department will take care

of the necessary paperwork for the voyage to Japan. The

Oden will soon be steaming around the world for the Pacific.

Hasagawa's favorite game, we learn, is poker. The stakes

. ~ 106 will be very high indeed. But Kettie mentions that poker is also her father's favorite game.

We see a map of the world with an arrow line traveling

from Alta Fjord through the Panama Canal and across the

Pacific towards Japan. The camera pans down the map from

Japan and shows a closeup of Macao. We see the superimposed

image of a Boeing 747 landing in Macao.

Establishing shot of Macao. We see the interior of a

hotel room. Rick, Kettie and Mr. Boyd sit at a table and

play poker. Kettie tells them that their sources say

Hasagawa never brings more than one million dollars on a

gambling trip •.• that it is $50,000 just to enter the card

game he plays in. Mr. Boyd isn't worried. If he loses

he'll be bankrupted. But, if they can force Hasagawa to

bet his claim to the Nakhimov, and then beat him, they'll

win. Mr. Boyd takes a deep breath and puts on his best

suit.

We see the interior of the rear gambling room at a

casino. Several wealthy men, including Boyd and Hasagawa,

sit at the table and ante up. Rick and Kettie watch from

the background. The game begins. Cards are dealt and money

flows back and forth between contestants. As the game

progresses (shown with dissolves) there are fewer and fewer

players. The stakes keep getting higher. Hasagawa laughs

and laughs every time he forces somebody out of the game.

We can see that he is a mean player with a sadistic streak

in him. Those who leave the game grumble as they exit .

. ~ 107 Mr. Boyd stays with the game. Then Kettie starts breaking

Hasagawa's concentration by gesturing or flicking her eyes.

Finally, the game ends up with everything at stake. Boyd and Hasagawa are down to it. Somehow, Mr. Boyd ends up winning the claim which Hasagawa signs away at the table.

But Hasagawa doesn't like losing.

Back at the hotel our heroes are celebrating. Hasagawa sends them a complimentary room service dinner. stuffed Pig a la Plastic Explosives. As the good guys are about to cut into it Kettie feels its skin and mentions that it is cold.

She tells the waiter to take it back to the kitchen and have it microwaved. He does. He takes the express elevator.

A few moments later, the building is rocked by an explosion in the kitchen.

The Oden arrives in the Tsushima Straits. A towed sonar array is lowered over the stern with a magnetometer.

The crew of the Oden begins the search. In the Oden's nerve center, they watch the screens and the sonar images. They have several false leads which turn out to be other sunken vessels. Finally, the magnetometer and the sonar send back an image that turns out to be promising. They lower a remotely towed sled over the site and begin criss-crossing.

The video signal shows murky water, filled with algae, around the wreck. The sled gives them their first good look. Thor, Rick and Kettie watch carefully. The remote operators maneuver the sled deeper. Suddenly the screen turns to static.

108 "We've lost the sled," Thor shouts.

The Oden reels up her tow line, only to find that it

has been severed. The cause is discussed. It is thought

that one of the many trawler nets hung up on the Nakhimov might have caused the mishap. The manned submersible is readied and lowered into the sea. The submersible is told to identify the wreck and look for the sled. It goes down but can find no trace of the sled. It then investigates the wreck. It's hard to see anything down there. Suddenly the submersible crew thinks it has identified the wreck. They return to the surface. Later they display a video tape of their dive. Certain features show clearly. There is no doubt that the wreck if the Nakhimov. The Oden drops its anchor. Preparations are made for the next day.

For the first time, the divers are assembled for their first exploratory dive. They will be working in pairs. The buddy system should prevent major mishaps. An ROV (remotely operated vehicle) also will be sent down to assist them by providing light and allowing the people in the nerve center to watch the operation on video. They will not be going into the wreck. This time they will provide guidelines for future divers, and scout out a place to receive the divers' habitat. Each diver is given heliox in his tanks so as to increase his diving time. The depth is 300 feet. A large decompression chamber is readied in case of an accident.

Anchor guide lines are dropped and, one by one, the divers descend into the sea. Things start to look good. The early

109 part of the dive goes off without a hitch. Then a large

self-propelled ROV (not from the Oden) with TV camera eyes

and six mechanical arms suddenly looms out of the dark,

illuminating a pair of divers. It grabs the first and kills

him instantly, blood spurting into the sea. Then it turns

on the second diver. The second diver climbs the guide line

for dear life. But the ROV is faster and manages to sever his regulator hose. The diver doesn't give up. He still climbs, dumping his tanks which clang against the ROV and momentarily block the vision of its cameras. The diver is barely able to escape. He pulls the C02 cartridge in his buoyancy collar and rockets to the surface. He breaks the surface nearly dead. The divemaster directs other backup divers his way and they pull him into the ship. The ship's doctor has the man rushed into the decompression chamber.

An acoustic signal is sent out to the other divers to tell them to return. The intruding ROV turns off its lights and scoots off into the murk. As the other divers begin their slow ascents up the guide lines, the first sharks appear, attracted by the blood of the first diver. The divers are forced, back to back, to protect themselves. They break out their shark sticks. The Oden's ROV is telling the nerve center all it needs to know. They watch the sharks go after the dead diver. Thor has all the divers hauled up and sent to the decompression chamber immediately. The injured diver, suffering from a severe embolism, utters the word

"ROV." Then he dies.

110 Two days later the other divers have recovered. Thor pieces

the puzzle together. The divers and the sled were attacked

by an ROV. But there is one incredible problem. Nobody has

yet invented an ROV which is self-propelled and untethered.

The technology is not that far advanced. Hogan mentions

that it is possible. The Germans developed subs powered by

hydrogen peroxide during World War Two. But the technology

fell into the hands of the Russians. Now nobody on board

the Oden doubts that this was the work of the Soviets.

Not far away a Soviet nuclear sub sits on the bottom of

the straits. The ROV returns through a hatch. The hatch

closes. Inside, Slava oversees the control panel for the

ROV. He has a talk with the sub's captain. The captain

is disturbed that his boat is being used to kill innocent

civilians. A heated debate ensues. We learn that the captain also is very worried about being detected by u. s. submarines or P-3 Orion anti-sub aircraft. They are not in

international waters. Slava, having the power, reminds

the captain that they are buying time while the real plan is

being implemented. "If they are threatened, they will

simply leave," he says. "The Americans want peace," he

smiles, "they don't want an incident." And as for the

treasure hunters, he reflects that he already has put a

spy on board their vessel.

Back on the Oden, Rick and Kettie volunteer to be

backup divers to replace the lost ones. Thor announces that this time all divers will carry special shark sticks

111 with explosive tips. And if the Russian ROV returns, the

divers will have a chance. An active sonar is lowered into

the water for warning of an attack. The manned submersible is equipped with a sonar array and kept on standby. Again,

the divers go into the water. They begin securing new guide lines. The Oden's ROV also is lowered into the water. It

has two mechanical arms. The divers go about their work. Soon, something appears on the active sonar. Thor notes

that the object is moving rapidly. He warns the divers with an acoustic signal. The divers stop their work and pull out

their shark sticks. The submersible is lowered into the sea

and maneuvers into position. Back on the Soviet sub, Slava

watches while his operator maneuvers their ROV. Slava tells

the operator to activate the ROV's floodlights. He does.

We see divers swimming for safety toward the wreck. Slava

points out two divers and says, "Let's see you get those

two."

The Russian ROV illuminates and approaches two divers.

The divers split. The ROV catches up with one and grabs his

arm. The diver jams his shark stick against the shell of the ROV. There is a loud bang, but the shell is merely

dented, not holed. The other diver appears from above and

taps his shark stick against the acrylic window over one of

the ROV's TV cameras. The blast cracks the window. There are sparks and the camera burns out. Back in the Soviet sub

one of the monitors loses reception. "Damn," Slava fumes.

By this time the Oden's small ROV appears on the scene and

. ~ 112 illuminates the Soviet ROV. The Soviet operator releases

the diver in the ROV's claw. The two divers take off. A

"David and Goliath" battle betweens machines and operators

now takes place. Thor is at a disadvantage because the

tether on his ROV could be cut. But the good guys have the

advantage of being smaller, more maneuverable and faster

than the bad guys. The two machines jockey for position,

trying to grab each other. The Soviet concentrates on

grabbing for the Oden ROV's tether. If it is cut, the

Soviet ROV certainly will be back again. After an exciting

and protracted battle, the Soviet ROV is damaged. It zooms

off into the depths, lights off. The Oden's submersible

takes up pursuit. They follow it by sonar until it suddenly

disappears. Inside the soviet submarine, the captain is

detecting incoming propellers and active sonar pinging.

It's time to get the hell out. "Take her up, full ahead,"

he commands. The men in the Oden's submersible are taken

by surprise by the sudden cyclone of air bubbles in front of

them. They turn away just in time to avoid the huge sub.

The submersible is nearly sucked into the nuclear sub's big

brass props. The submarine disappears into the distance.

The next day the main threat is gone. The divers now

can get on with their jobs. They prepare for their new dive. They begin checking their scuba tanks. Kettie checks

hers, preparing to inhale through the regulator. Something

isn't adjusted in her apparatus and she puts the regulator

aside. She turns on the scuba tank J-valve and a jet of

. v 113 flame rockets out of her mouthpiece, melting and burning

the apparatus. She quickly turns off the J-valve. The

others come rushing over. Rick says Kettie's tank has been

filled with an industrial gas which ignites on contact with

the air. Thor realizes there is an assassin in his crew.

He must be found.

Rick and Thor personally inspect everything before each

dive. The first dive of the day begins. At the end of the

day the divers' habitat is in place on the bottom. The next

day the wreck is explored. There is a problem with eels

living in the wreck. The eels are driven out. Then the

real exploration begins. The lead diver ventures into the

wreck wearing a video helmet. He manages to squeeze his way

into one of the magazines and finds a cache of shells. He

removes one and takes it back to the habitat. From there

it is hauled up to the surface for examination. It is then

given the acid test. It's definitely gold ••• solid gold!

Over eighty pounds in weight! The enamel paint is scraped

off the shell tip to reveal a metallic surface. This ammo

is tested. The tip is made of platinum! The one shell is

estimated to be worth $350,000.00.

During the course of the week the sides of the ship are

welded through to reach the magazines. One by one, in

turbid water and strong currents, the shells are extracted

and hauled up to the surface. The Oden's cargo bay receives

the treasure, shells stacked one on top of the other. Thor

mentions that they will have to give the Japanese government

. ~ 114 their cut. "But, we shall soon all be rich," he says.

Finally, the wreck is cleared of treasure. Kettie guesses

their haul to be about 18 billion dollars, a bit less than

expected. The ship prepares to raise anchor and leave that

night. The Soviet agent on board, pulls out a burst trans­

mitter on deck. He watches his wristwatch and fires his

radio signal at the sky ..• ostensibly to a satellite.

The next morning the ship is underway to Japan when

something appears on its radar screen .•. something in the

air. Suddenly, Thor sees a small jet-propelled drone about

the size of a sled streaking towards his ship. He orders

the helmsman to turn. We see Slava, inside another control room, watching a TV screen. The drone operator maneuvers

the controls and zeroes in on the Oden's mast. Thor and the bridge crew hit the deck as the drone impacts on the mast.

There is a blast, the ship shakes, and the mast falls.

Thor hits the alarm button. The crew rushes to their

stations. Hogan and Kettie race to the bridge to find Thor assessing the damage. "Say goodbye to the radar and the radio," Thor curses. At this moment the Russian infil- trator enters the engine room and guns down the engineers.

He hurls a grenade into one of the diesel engines. It explodes and disables the wiring and electrical systems.

One shaft grinds to a halt. The Russian· turns to the other diesel engine but this time one of Thor's men enters and cuts the spy down with a machine gun burst. Thor is advised of the damage. They are down to half speed. Thor orders

115 his men to prepare for action. RPG's, machine guns, grenade launchers and pistols are doled out among the crew.

Thor orders his navigator into a zodiac boat with which he is to race back to Tsushima for help. The navigator takes off in the zodiac. Suddenly, on the horizon, a soviet factory mother ship appears. We see Slava on deck, watching through binoculars. "Make sure not to hit anything below the waterline," he commands. A large cabin unfolds away on the mother ship. It is a disguise masking an elevator lift. The lift rises to the deck carrying a Mil attack helicopter. The pilot revs up the engine while gunners climb in and man the miniguns. The helicopter has rocket pods and a machine cannon in the nose.

The stern doors of the mother ship open up. Four small attack gunboats, loaded with armed boarding troops and weapons, exit the mother ship's interior and head for the

Oden at full speed. The heicopter lifts off and flies away.

On the Oden the crew dons flak jackets and helmets.

Thor now uncovers the special equipment he had loaded at

Alta. He reveals a twin 40mm anti-aircraft pom-pom gun.

The other piece of equipment is revealed. It is a TOW wire­ guided missile launcher. Thor and four men man the pom-pom.

Another pair ready the TOW.

The Mil helicopter races across the sea. A crewman spots the zodiac heading for Tsushima. They fly directly for it. The Norwegian sees the helicopter and begins zig-zagging. There is no question as to who will win. The

116 Soviets chop the sea with their miniguns and finish off the

Norwegian. Then they roar back towards the Oden.

Rick and Kettie go down to the weapons locker. "Why does it always come down to this?" she asks. "Because it is the only way you can win when you haven't earned it," he replies. Rick dons a flame thrower. "Stay here. Put on some scuba gear and get away when you have a chance."

"We're in this together," she responds.

The battle begins. The four gunboats separate and race in, firing their guns. Thor levels the pom-pom at the first gunboat and fires. The Russians are surprised and turn amidst a cyclone of tracers and exploding shells. Thor zeroes in and leads them. The pom-pom rips the gunboat into fiery shreds. The other gunboats pepper the Oden's super­ structure from a more respectful distance. Two of Thor's crewmen go down. The Mil helicopter fires a clutch of rockets at the Oden. Some zip over the ship. A few others hit, starting fires and killing more of the crewmen. Thor turns his gun around and opens up on the helicopter, but the chopper evades and heads out of range. The three gunboats charge in. Thor wheels the pom-pom around again.

This time the TOW missile crew is ready. They fire a missile at the second gunboat. The missile is joysticked toward its swerving target, exploding in the sea.

Again Thor opens fire. The gunboats are kept at bay.

The TOW is reloaded and fired again. This time the missile has its target and damages its bow. The battle reaches a

117 furious pitch. The Mil helicopter reappears. Thor wheels the gun around again. The helicopter fires a brace of well aimed rockets, blasting the Oden's superstructure. One rocket hits the pom-pom and knocks the weapon askew, wrecked on its side. Thor, dazed and badly wounded, collapses.

A crewman drags him below. The helicopter closes in for the kill and begins raking the Oden's decks with machine gun and cannon fire. The TOW missile crew is killed. Others are wounded and killed. The gunboats move alongside with boarding ladders. The chopper hovers over the deck, making ready to land a squad of men who are preparing to jump.

We see an open hatchway just below the helicopter. A small flame licks up from the hatch edge, below decks. It looks like an internal fire on the ship, there are so many of them. But it is not. It is the tip of Hogan's flame thrower. He pops up and pours a stream of liquid fire into the open cabin of the chopper. It nearly backfires. The prop wash blows some of the flame back his way. But the damage is done, and the helicopter veers away. Burning men fall from the chopper as it bakes off in mid air. It tilts to the side and falls sideways into the sea, shattering its spinning rotor as it hits.

Rick, singed and blackened, but not really burned, crosses the deck with a handful of Norwegians. Soviet KGB commandos climb over the railing of the stopped ship. They begin crossing the deck, shooting anything that moves.

A few are cut down by the Norwegians. The Norwegians,

118 in turn, are also chewed up. Hogan torches the bad guys

from behind and then heads for the railing. Gunfire opens

up on him from the gunboats below. Hogan's torch has now

run out of fuel and he dumps it. The mother ship closes in

for the kill.

The factory ship closes to the Oden's clear side and

grapples the vessel. The two ships are now joined. More

boarders climb onto the Oden from the mother ship. Below,

Thor sets scuttling charges. He won't let the Soviets take

his hard work. Kettie and Rick take cover. The fuses are

ignited and begin hissing towatd their TNT charges.

At this moment Slava comes on board with Mischa. He

gloats in his victory. He will have the gold transferred

and then beat it. Kettie and Rick are discovered. But a

commando appears and informs Slava that there are charges

all over the ship about to go off. "Amusing," he comments.

He orders all his men back onto the mother ship. Since

there is not enough time to disarm all the charges, the

bad guys take off. The mother ship begins to leave. The

fuses reach the TNT but fizzle out. Nothing happens. Thor

grabs a bunch of "TNT" sticks and shows that they are merely

road flares. In the distance, the mother ship stops. Slava turns

back. Suddenly his ship is rocked by underwater explosions.

It plunges to the bottom. Four divers surface beside the

Oden, smiling. "We got them," shouts one, holding up a

stick of real TNT.

119 • !) The surviving good guys set about cleaning up their

ship and getting it underway. Titles roll over Hogan and

Kettie, and we conclude that they will be having a future

together.

' tl 120 APPENDIX C

Character Studies for the Screenplay

"THE WRECK OF THE ADMIRAL NAKHIMOV"

121 CHARACTER STUDY Rick Hogan

9ccupation: Self-employed. owns a small cargo vessel which provides inter-island transport and mail service in the Central Pacific.

Medical History: Allergic to milk. TWo broken ribs from a boating accident. Wounded in the back by a mortar fragment. Has had measles, mumps and chicken pox. Vision is fair, but needs reading glasses. Overall physical condition is average. Poor diet. Suffers from alcoholism. Healed shark bite on left thigh.

Skills: Good mechanic. Can maintain and repair diesel and gasoline engines. Also has knowledge of steam turbine and reciprocating steam engines and their maintenance. Proficient, though rusty, in the operation of radar, sonar and electronic jamming equipment. He has basic electrical knowledge and can repair simple electronic devices. Also trained in navigation, seamanship and boat piloting. Experienced scuba and wreck diver. Knows how to weld and solder. Qualified on small arms, pistols, M-16's, bazooka, grenade launcher, flamethrower, mortar and hand grenades. Trained as an explosives handler mainly for underwater demolition to clear debris. Well trained in the use of industrial gases and diving gas mixtures. Proficient at

122 salvage and the use of testing/etching acids. Can drive cars, trucks, tractors, amphibious vehicles and some caterpillar equipment. Understands hydraulic repair and maintenance. Good at patching and jury-rigging damaged machinery. Knows how to rig hawsers and rope lines from ship to dock. can tie over 15 kinds of sailor's knots. Has piloted small freighters, barges, tugs and transports. Can operate fast motorcraft, including river gunboats. He's a good sports fisherman. Trained in first aide, with an emphasis on diving injuries. Speaks English, French and Vietnamese; the latter two passably. Rick also has a little knowledge of Philippine, Polynesian and Spanish.

Hobbies: A good card player specializing in Poker, Blackjack, Hearts and Lo-Ball. He also shoots craps from time to time. Rick used to play baseball but now merely watches it on TV, listens to it on the radio or reads about it in the newspaper. He loves to fish, drink beer and sleep.

~ilitary Service: Joined the u.s. Navy in August, 1962.

~~rained in a navy engineering school. Served on board the oil tanker u.s.s. Neosho from 1963 to 1964. Started out as a fireman's assistant and moved up to fireman. Served on a u.s. Navy tug at Guam from 1965 to 1966. Became a Chief Engineer. Assigned to the Subic Bay Navy Yard in the Philippine Islands. There, he worked on refitting ships

123 and performing engine repairs in addition to general maintenance. Re-enlisted in late 1966. Went into Navy at

Pearl Harbor. Trained to support underwater demolition teams and Navy Seals special forces. Became an underwater welder and maintenance technician 1967-1968. In mid-1968 he volunteered for river gunboat duty in Vietnam. Trained to use firearms and other weapons. He also learned navigation and the use of equipment like sonar, radar and radios. By now, he had achieved the rank of Chief Petty

Officer. Arrived in Vietnam in early 1969. Assigned to

Mekong River Delta gunboat patrols. Received commendation for the rescue of a platoon of Marines who were surrounded and trapped by the Viet Cong. Wounded during river patrol in the summer of 1970 and lost two crewmen during the same incident. Received a purple heart. Reprimanded in August

1970 for striking his commanding officer at a Saigon bar.

No charges were pressed, however, and Hogan was honorably discharged in September of 1970.

Physical Characteristics: Medium-length brown hair and green eyes. Five-o'clock shadow on his face. Average in height. caucasian. Skin white but tanned from the tropical weather and the sea. A few gray hairs on his temples. stands about six feet tall when sober. Doesn't move as fast or as youthfully as he used to. Speaks with a slight gravel voice induced by alcoholic beverages. Gravel voice disappears when sober. Wears sunglasses in the

124 mornings because of frequent hangovers. Wears his watch on the underside of his left wrist. Wears a baseball cap. Also wears old, baggy pants and Hawaiian flowered shirts. Sports high-topped tennis shoes on his feet. Wears a small green toy troll around his neck on his old dog tag chain.

~hat Rick Reads: Rick reads the L.A. Times, mainly for stories about the Dodgers. He subscribes to Sports Illustrated and Popular Mechanix. He once subscribed to ?layboy and Penthouse, but he admits that they make him too horny, so he does without them. His favorite paperbacks are Louis L'Amour westerns, Tarzan stories and Edgar Rice Burroughs' science fantasy novels. When he was a child, his favorite story was The Little Engine That Thought It It Could. Other than newspapers and magazines, he hasn't read any literary books for years. He has many technical and "how-to" books.

Movies Rick Sees: Hogan doesn't go to movie theatres much anymore. Occasionally, he rents video tapes and plays them on the VCR inside his cabin. Among his favorites are Jaws, South Pacific, Apocalypse Now and Casablanca.

What Rick Fears: Rick fears getting locked into a standard relationship with a dull homebody wife who wants to make him take out the garbage, etc. He fears loss of indepen­ dence and ending up with no options. Worse, he fears that

125 he'll never amount to anything, so why try changing?

overall, he fears committing himself to anything which

would make him personally vulnerable. In isolating

himself and living without risk, he also lives without

purpose, direction or goals. Painting himself out of the

picture is more certain than being in the picture.

;Foods and Beverages: Likes hamburgers and hot dogs. Is

fond of Yukon Jack Whiskey, Coors Beer, and, sometimes,

Rum. His favorite snack is a Hostess Twinkie. He also

likes to snack on corn nuts. His favorite delicacy is

Lobster, which he sometimes catches or trades for. But

nothing beats a good, barbecued steak.

Political Views: The last time he voted was in 1960.

Since then he hasn't felt the need to vote because it

doesn't seem to make much difference to him anymore. He

distrusts big government, politicians and high-level

authorities. He doesn't get involved in causes or fight

for them anymore. All he wants to do is live, survive

and be left alone to run his ship. Although he operates

within the law, he sees the law for himself as not what's

legal but what's right.

Other Past Occupations: Has been a newspaper delivery boy,

auto mechanic and pizza delivery driver. Worked for Wilson

Diving Associates, Honolulu, Hawaii. Taught scuba lessons

126 ' i') for a year. Was a summer camp instructor one summer.

Was the ship's master for a deep sea fishing tour service

in Samoa. Worked for Matson Lines as an assistant ship's

engineer. Spent a year in Norway working in the North Sea.

'rhere, he worked as a divemaster and an underwater oil rig

repair and maintenance diver for British Petroleum. He

worked as a dredge operator in Wellington, New Zealand.

Was hired to service buoys and beacons in the Caroline

Islands. Finally went into business for himself and

contracts independently for services among the islands.

Present Marital Status: Single.

Vices: Drinking, gambling, bad manners, unable to invest

money wisely.

Relationships with The Opposite Sex: Rick's first girl was

a local, home town beauty contest winner with whom he fell

in love. They were engaged and he was all set to enter

into the typical idyllic American dream life and marriage

when, one evening as he was delivering pizza to a wild

party, earning money with which to go on to college, he

discovered his fiancee making love to the mayor's no-good

son (who was also captain of the football team). Ever

since then he hated football and, as a reaction, embraced

baseball with fanaticism. Considers baseball to be a man's

sport. Upon joining the Navy he had a woman in every port

• d 127 but only considered a serious committment once. He fell

in love with a beautiful Vietnamese woman. He learned

French so he could speak with her. He visited her village

in the Mekong Delta often and befriended her father, the

chieftan. Unfortunately, she was killed in a firefight when the Viet Cong and a Marine company ran into each

other and the village between them was leveled by a misguided napalm airstrike. After leaving the Navy, he bought a dog for companionship and started into heavy

drinking. He gave up any thought of finding justice in

life or of finding lasting and fulfilling relationships.

Music: Rick's favorite songs are from the mid to late

1960's. Some of them are Baby I Need Your Loving, When a Man Loves a Woman, Yesterday and I Wanna' Hold Your

Hand. These songs evoke both good and bad memories.

Psychological: Other than depression, and the effects of alcoholism, Rick doesn't seem to be very activated. He is spending time being stagnant and just cruising through life. He hasn't challenged himself in ages and has no reason or cause to move out of his self-imposed rut.

His only ambition is to remain one step ahead of his bills.

Despite his problems, he gets along well with people. He is a likeable fellow with no real enemies. He does not like government, football or killing. And deep inside, he is angry at the way he's turned out and what his once

128 promising life has become. He often will lend money to people or friends in need without ever expecting it to be returned. He's also rather thoughtful, when he remembers.

Educational Level: High School graduate and additional technical training.

Places of Residence: Waitland (Nebraska), San Diego, Pearl Harbor, Guam, Samoa, Honolulu, The Philippines, Cho Binh, Can Tho, Wellington, Bergen (Norway), Yap, Ulithi, Truk and Ponape.

Artistic Abilities: Plays the Harmonica. Proficient at sketching diagrams and technical pictures. As a cook he is surprisingly good.

Family Background: His father was a lower class working stiff employed as a machinist for the railroad. His Mother was a garment worker for a local clothes manufacturer.

There was a kid sister, 2 years younger than Rick, who married a farmer and ended up with three children of her own. Rick also had an uncle in the Coast Guard. Every so I often the uncle would visit and tell stories about the adventures he had at sea then, during World War II and the Korean War. This really got Rick's imagination going. Waitland was a small, dull farming and ranching community in Nebraska. With a diminutive population and few real

' f1

129 industries, there was little to do or see. Life on the plains was cold in the winter and hot in the summer. The only things Rick really liked to do were to go rafting, swimming and fishing on the Platte River. As teenagers, he and his friends would occasionally go into Lincoln, just to see what a big city was like. During the summer a circus or carnival would come to Waitland. Rick would sneak into the strip-tease or belly-dancer shows. There was one exotic dancer, an Oriental woman, who made an impression on Rick. His father, on the other hand, always went to see the geek show and the freak exhibitions. As a child, Rick found these to be distasteful and upsetting.

In his teens, he had come to realize that there was a whole world outside of Waitland, very different from where he had grown up. He made up his mind that he wanted to do better than the life his family had. He was sick of the small town and wanted an education so he could move to a bigger city and have an interesting future. He was also ambitious. He started out sweeping out the local church after sunday services, then moved on to the paper boy job.

He sold subscriptions, too. If he was able to sell 100 new subscriptions, he would receive the grand prize among paper boys •.. a large model kit of an ocean liner, said to be worth $12.00, a lot of money then. After a lot of hard work, Rick finally tallied 100 subscriptions. But at the last moment he was denied the trophy because one of the new subscribers suddenly canceled. The model went to

130 someone else. Rick eventually went to work in an auto

and tractor repair shop and an equipment rental yard. He

worked while in high school, still receiving adequate

grades. He saved his money for college and a car. Before

high school he had played Little League baseball. Later

he was the right fielder on the high school team. A good

hitter, he earned a letter and a bit of fame. It was

enough to get him a date with the homecoming princess Norma

McAllister. Rick took the relationship too seriously, not

realizing she was a scheming, conniving young woman. He

spent some of his money on an engagement ring and proceeded

to make plans for the future. Norma, on the other hand,

used the relationship to get the attention of Billy Jim

Floyd, the mayor's creepy, spoiled son. After Rick discovered the bad news while delivering pizza, he made up his mind to get out of town, half due to embarrasment to his machismo and half out of anger. Remembering his uncle's sea stories, and his trinkets brought back from the Orient, he joined the u. s. Navy in search of worldly adventures. His mother died of lung cancer in the 70's.

His father, a rather unpleasant, alcoholic man, drank himself to death in the middle of a snowstorm not long thereafter. Rick still occasionally writes to his sister in Grand Island, Nebraska.

sex: Rick first had sex with Norma McAllister. He was introduced to a hooker while in Navy training at San Diego.

131 Had a few intimate relationships while stationed around the world. The real love of his life was the young Vietnamese woman name "Ginny" Nguyen who subsequently died in the war.

Special Childhood Problems: Rick's father, when drunk, always called him names such as "dope" and "dummy."

I'

132 CHARACTER STUDY Rettie (Katherine) Boyd

Occupation: Freelance journalist. Writes for National Geographic, Time, Newsweek, People, u.s. News and World Report, Ms., Redbook and the New Yorker.

Medical History: Allergic to weeds and western grasses.

Suffered from asthma and overall frail constitution as a child. Has had more than her share of the usual childhood

diseases. Slightly pidgeon-toed. Is presently in good

physical condition. Eats selectively healthy foods. She

is nearsighted and needs glasses for long distances. Has

had braces when younger. Received two broken teeth in her

late teens and had them replaced with porcelain caps.

Spiral fracture in left leg during her mid-twenties. It

healed. Fractured jaw, wired and healed in late twenties. Skills: She's an accomplished photographer, both with 35mm

still and 16mm motion picture cameras. Can also operate a minicam and VCR's. She is a licensed scuba diver and snorkler. She is a licensed pilot, qualified on single and twin-engined propeller aircraft. She can operate most commercial radios and can drive most cars. She is not so good with a stick shift. Knows how to use a crossbow and a regular hunting bow. Is trained to use MACE and small pistols. Moderately good at Tae Kwon Do. Also knows how to fence and ski. Can shoot a rifle and is passable when

133 it comes to skeet shooting. Knows how to ride horses.

~rrained as an equestrian, but refuses to ride side saddle. Can sew and knit but her sewing projects sometimes come out lopsided. She needs more paractice at this. can play or referree many sports. Speaks English, Spanish, Mandarin, and Arabic. Also has a fair knowledge of Hebrew, German, French and Russian. Can operate microcomputers and word processors. Can tap telephones, use tape recorders and body-wired microphones. Knows how to use hidden cameras. Can pick locks and deactivate burglar alarms. Can also forge signatures, shoplift and steal things. She's a good swimmer. She can communicate and listen well. Skilled at interviewing and analyzing what people say. And she's a I good writer and journalist, too.

Hobbies: Likes to visit casinos and gamble. Enjoys the crap and blackjack tables. She likes the slot machines but her favorite game is baccarat. Among her favorite sports are horse racing, la crosse, soccer, volley ball, fencing and tennis. But skiing and skin diving are her real passions. She collects primitive culture artifacts.

Military Service: None.

Journalism Career: Worked on various school newspapers at Harvard, Columbia and Stanford from 1962 through 1965.

Wrote and edited for Sunset Magazine 1966-67. Briefly

' t}

134 worked in counterculture publications during early 1968. From mid 1968 through 1970 she wrote for u.s. News and World Report. Worked as a writer and interviewer for Time

Magazine 1971-74, Newsweek 1974-76 and People Magazine

1977-78. Worked for Redbook, Ms., and The National

Enquirer 1979-81. From 1981 to 1983 she was am editor for

the New Yorker. She worked for CNN Network News, European

Journal and ABC news from 1984-1987. During this period

she did TV reporting and interviews. At present she is

taking a vacation in the South Pacific and doing an article

on Pacific Islands for the National Geographic Society.

Physical Characteristics: Medium blonde, wavy hair down

to her shoulders. Light skinned but tanned from the sun.

Complexion freckled but not unsightly. Obvious Caucasian.

An occasional strand of gray hair which she plucks out if

she spots it. Height about 5-foot-5. Probably 115 lbs.

Walks slightly pidgeon-toed, but it's no impediment to her

movement. Speaks faster than most people. Always squints

when she concentrates on something. Drives cars as if she

is driving a tank. Often wears contacts for her eyesight.

Somewhat stocky, but feminine build. Moderately athletic

in appearance but not overdone. Has an attractive figure

but lacks real grace and feminine charm. Her walk is

direct and, while not a man's walk, lacks a lady's style.

She is self-conscious about her breasts and is always

strapping them down beneath her clothes or crossing her

' ~ 135 arms over them. Her manner of movement is businesslike

and technical. While she will wear dresses to social

occasions, those dresses will usually cover up her legs,

arms, and bosom. She wears a fine gold chain around her

neck with a small ruby heart on the end. She shaves her legs and underarms. She usually wears thongs or Adidas

running shoes and has her hair pulled back and tied behind her head. Most of the time, she has a frown on her face.

Her usual clothes consist of cotton-type pants and shirts,

of a very plain variety. She is not, however, plain or

ugly. She is attractive, though not a raving beauty. She wears panties and bras beneath her clothes, but of an

ordinary variety. She does have a handful of sexy items to

wear, but only puts them on for a reason. Pierced ears.

What Kettie Reads: Basically, she reads what she needs to read to keep abreast of world events. She likes reading

the publications she used to work for. She reads some

Gothic romance novels but enjoys Harold Robbins and

Jacqueline Suzanne paperbacks the most. Among her favorite stories are Jane Eyre and Cannery Row. Her favorite

childhood stories were Snow White And The Seven Dwarfs and

Katy The Snowplow. Stashed away, under a bunch of other

stuff, she has a bridal dress magazine from before her

first marriage.

Movies Kettie Sees: Kettie will watch any movie starring

' !) 136 I· Elizabeth Taylor, Barbara Streisand or Meryl Streep. Her favorite films are Cleopatra, Funny Girl, Giant, The

~rench Lieutenant's Woman and The Way We Were.

What Kettie Fears: Although she is quite comfortable with herself and being alone, she fears being dependent on anyone; sexually, emotionally or financially. Although

she has achieved career success, she has not been so

successful in relationships with the opposite sex. She

sees her own feelings and emotions as weakness; a potential door for men to use her. She fears being taken

by a man who will tell her what she wants to hear, if he

is clever enough to figure what that is, and then use her

and mistreat her. She does not want a repeat of her first

husband. She is a failed romantic. She fears losing

touch with her feminine qualities and repressed sexuality which she converts into assertiveness and ambition. She

is afraid she'll be exposed as the daughter of a simple but wealthy hillbilly.

Foods and Beverages: Kettie forces herself to eat foods like salads, fruit and grains. But down deep she

craves milkshakes and chocolate bars. She likes wine and

wine coolers, but will occasionally drink cold beer. She

is also a vitamin nut, and takes other supplements from

health food stores. Among her favorite beverages are fresh

brewed coffee and expresso. She frequently drinks skim I~

137 milk and sometimes eats yogurt when available.

?olitical Views: Voted for Ford, Reagan, and Bush. Has a very conservative political outlook. Believes that the business of America is Business. Does not connect herself with simple folk or grassroots politics. Her roots are too embarassing to her for this.

pther Past Occupations: Has worked in a ski lodge as a pro shop attendent. Spent one summer working at a resort in the Italian Alps.

:Marital Status: Presently single. Divorced.

Vices: Somewhat snobbish and overly concerned about proper etiquette and appearance. Emotional addiction has been a problem in the past. Has a tendency to kick off her shoes and walk around in her bare feet in the most unlikely places. She sometimes doesn't think. Many times selfish, insensitive and rude. Somewhat bossy. Is nuts about little porcelain animals.

Relationships With The Opposite sex: Tends to turn men off with her aggressive/assertive behavior. Underneath her tough-ladyjno nonsense veneer is a real pussycat. Her independence and individuality threaten most men and scare them away towards "easier" game. She hates macho men.

138 Her first experience was with a smooth-talking, slick man 1,rhen she attended Harvard. She got used and trashed.

Next, at Columbia, she got head-over-heels involved with another jerk who lived in her apartment rent-free, dominated her 7 lied to her, cheated on her, used her and then trashed her like her previous boyfriend. Then she transferred to stanford and eventually fell in love with

Mohammed Falazzi, a foreign student from the mideast. When they graduated, she married him. He became a citizen, took their furniture and gave it to his parents. He then brought his arranged bride over from the mideast and moved in with her. Shattered, Kettie was helped into her first job by her father's influence and set about to rebuild her life. She went through a man-hating phase which lasted about four years. Then she was in a man-abusing phase for a while, getting in her licks while she could. But this really did nothing for her so she resigned herselt to becoming impossible to deal with romantically. She became a professional "workaholic" to fill up any and every time slot she had available; her excuse to avoid risking and loving. Accepting remote, hectic and out-of-the-way assignments was another way of dealing with it.

Music: Her favorite songs are by Barbara Streisand, Alabama and Gordon Lightfoot.

Psychological: Suffers from an inferiority complex which

139 she compensates for by assertive and sometimes overbearing )Jehavior. She is highly competitive and often takes on men in sporting challenges. She may lose, but she thinks she will win respect and social parity because of it. What she really wants to win is a man who will treat her with respect as an equal, love her physically and emotionally, and treat her as a full partner in the relationship, and nurture her in a positive non-demeaning way. (i.e., trust each other). She despises coquettes and manipulative women. It is a point of jealousy, because the coquettes get all the "good" men they want by deceit. She doesn't feel she should have to use deception and cute tactics in order to win the man of her choice. Emotionally, she flip-flops between anger, logic and romanticism.

~ducational Level: A product of private school, European boarding school and high-level American universities. She has a B.A. in Journalism with a minor in Communications.

Places Of Residence: San Francisco, Chicago, Rome, Milan, Barcelona, Bern, New York, Washington, London, Los Angeles, Amsterdam, Paris, West Berlin, Bonn, Tel Aviv, Tripoli and the caroline Islands.

Artistic Abilities: Writes poetry but doesn't publish it.

Plays piano. Into photography, supposedly for journalism, but really to photograph the men she has a passion for.

140 Family Background: Father was ~n undereducated genius who

made a heap of money in the recycling business. Mother was

a factory worker. Both were semi-hillbilly types from rural areas. Her father wanted his girl to be "really

Gultured" so he sent her to boarding schools in America

and Europe. With their new wealth, her parents built an estate with riding stables. They made sure Kettie had good

schooling. Whatever she wanted to do or be, they would

support it. But, unfortunately, her parents did not have a perfect life together. Her father lived in one end of

the house and her mother in the other. Finally, when

Kettie was a teenager, her mother moved back east to be

near Kettie's aunts. Kettie stayed close to her mother but

was somewhat estranged from her father. Some of this may

be explained by the fact that her father was a dwarf or, at least, a short man whose shortness was the main force

behind his overcompensation and subsequent success story. Kettie always liked riding horses. When she was

young she didn't do very much. She had a retinue of dolls including Barbie and Ken. She used to play with toy

horses. Her father put her on a rich girl's hockey team

to improve her health. Her mother didn't approve. She was

the son Mr. Boyd never had. Thus, Kettie became addicted to sports ... particularly contact sports. Her health

improved. She was sent to a rich girl's school, an all-girl preppie institution run by the Catholic Church.

Though not a Catholic, she fit in well and achieved.

' ' 141 She got into occasional fights with girls who insulted her. She took to volleyball, swimming and field hockey. Later, after her mother and father split up, she was sent to a private boarding school near the Italian Alps in Milan. There she fell in love with skiiing. She also learned to to speak Italian. She would spend summer with her father or mother back in the states. She gradually began to develop her autonomy. After an incident, her father moved

her to a boarding school in Barcelona, Spain where she learned Spanish and other things. When she graduated, she wanted a job where she could travel and meet people so she decided to study journalism. She entered Harvard, then

Columbia, and completed her degree at Stanford. She tried marriage but ended up with the wrong man. Any plans she

had for children or a settled life were messed up. She divorced and started over. Her mother always asked her

when she was going to find a nice man. Kettie would reply in turn "you mean, like father?" Kettie did not want a repeat of a disastrous relationship, or one like her parents'.

sex: First had sex with Rodney Burtonhouse, a fraternity man at Harvard. She equated it with love, but it wasn't.

Next she loved James Buchanan (Buck) Billington, who used her as a doormat. Finally, she loved Mohammed Palazzi and married him. Palazzi was the best one of the bunch, as far

as making love went, but he turned out to be as selfish as

' ~

142 her previous lovers. Later, she led a short life in the

fast lane which was sexually adequate but unfulfilling.

She generally likes lots of foreplay and petting before

engaging in standard sex. To someone with whom she will be

mutually emotionally involved, she can be as hot as a

firecracker.

Special Childhood Problems: Having no brothers around, she

wasn't versed well in male-female interactions. But she

learned some painful lessons later, the hard way. Kettie

was slightly asthmatic and skinny as a child. She was

also rather clumsy and prone to injuring herself through

accidents. starting out with a somewhat weak constitution,

she became more robust later. As a teen, an Italian man

grabbed and pinched her developing breasts and behind while

she was vacationing in Venice. This first sexual encounter

with the "rude" opposite sex gave her a sense of violation.

From then on, she down played her feminine features. In

Paris, while walking with girlfriends through the street,

a crazy Frenchman ran up and bit her on the right cheek.

Before she could get away, he bit her on the other cheek.

This reinforced her negative view of men .

. ~ 143 CHARACTER STUDY Colonel Gregori Alexiev Slava

9ccupation: Employed by the Union of Soviet socialist Republics. Rank of Colonel in the KGB. Chief of International Maritime Intelligence Operations, Pacific Ocean area.

~edical History: One 7.62mm bullet removed from gunshot wound to front of shoulder. Knife slash healed over left side of ribcage. Broken hand, fully healed. Half of pointer finger on right hand severed and still missing. Treated for effects of head concussion more than once. Still, overall physical condition is healthy and strong. Good selective diet. Has been a heavy drinker in the past.

Skills: An expert with weapons and surveillance devices.

Qualified on handguns, rifles, submachine guns, machine guns, rocket launchers and hand-held surface-to-air missiles and rockets. Also, night vision devices, infrared vision equipment, starlight scopes, binoculars, monoculars, video and film surveillance paraphernalia, miniature document cameras and 35mm still photography. Satellite communications systems, micro-burst transmitters, radio systems, radar systems, tracking devices, gun silencers, the use of poisons, explosives and explosive devices, interrogation techniques, drugs, wire taps

144 eavesdropping, tailing people, computerized information theft, picking locks, cracking safes, robbery, murder, burglary, infiltration, terrorism, misinformation, underwater warfare, covert maritime warfare, piracy, recruitment, computer operations, satellite surveillance, c:ar bombing and hand-to-hand combat. Also has some navigation training. Can fly small planes, transport aircraft and flying boats. An excellent operations manager for a spy. Also trained in spying techniques and getting the confidence of victims or getting the goods on potentially useful spy candidates. Can drive tanks and armored cars. Can sail sailboats and pilot other vessels. Can scuba dive. Knows over 100 effective or efficient ways to kill a person. He can drive most commercial vehicles.

An expert in certain antiques and collectibles. Speaks· Russian, German, Polish, French, Japanese and English, as well as a little Norwegian, some Italian and a fair amount of Mandarin. He is a sharpshooter of the highest order.

Hobbies: At Casinos he enjoys roulette. He is a card counter and often pits his superb mathematical skills and memory against the house in a game of 21. He collects stamps, specializing in extremely old and rare issues. He also collects all kinds of interesting weapons from the past. He disdains modern weapons and artifacts. Listens to his own alpha wave signals on a headset to relax.

145 Carries a pocket watch on a chain to tell time. The end of

the chain has an ornament of a prehistoric ant encased in

amber. Likes to visit museums and old places. Likes to

play chess. Has his own miniature computerized chess set.

Military Service: Entered the Soviet Naval Academy at age

18. Graduated 8th in his class of 2000. Became a

Lieutenant in Naval Intelligence. Almost became a member of the GRU. Instead, after 4 years in the Navy, joined the KGB with impressive credentials and recommendations.

Chose the KGB because it was the main power ladder to the top level of the Soviet Communi$t Party superstructure.

Helped to initiate the Pueblo Incident, off Korea, in

1968. Immediately promoted to Major. Was sent to Angola to help and advise. After success there, he was promoted to Lieutenant Colonel. Sent to Poland in mid 70's to work with the Polish SB against Solidarity. Operated in western

Europe between various safe houses. Planned murders of defectors and dissenters. Aided Lybian terrorists in hijackings, bombings and airport attacks. So successful was Slava, that he was recalled to Moscow to take charge of overall planning and operations of the KGB in Europe.

Due to infighting, and fear of him by his associates, he was promoted to full Colonel but relegated to KGB maritime operations in the Pacific region ..• definitely not a step up politically. Slava's current duties include intelligence gathering and covert operations in coastal

146 Asia, trawler surveillance in the Pacific, satellite

reconaissance and Special Operation/Pacific. He operates

fishing fleet "mother" ships, visits fishing/spy trawlers,

inspects safe houses and often travels to meetings in the

Soviet Union (Vladivostok, Leningrad and Moscow).

Physical Characteristics: If you looked at Colonel Slava,

he would seem to be a very ordinary man. Surprisingly, he

is a small man with a very kind face. Most of the time he

smiles very warmly and speaks with an occasional stutter.

His manner is very gentle and friendly. He is partially bald on top, with a crown of short, graying hair. This

is completely at odds with his true nature, which is deadly and dangerous. His deceptive appearance is his power, and

it allows him to fool most people. You might think of him as an evil Alfred Hitchcock; paunchy, affable, cultured,

friendly ... but amoral and malevolent. He is something which would never be feared by a normal person. Although seemingly whimpy, he is physically strong and adept with most any weapon. He speaks in a very syrupy fashion and evokes a "nice guy" image. He can pat people on the back and compliment their appearance, then unemotionally cut their throat to ribbons. He kills everybody alike; whether male or female, young, old or crippled. After doing somebody in, he smiles and sincerely says "I'm so sorry." He often will scratch his head in a disarming fashion or adjust his suspenders. He detaches himself

147 from his work by examining rare stamps or antiques in the

:middle of an operation. He carries a yoyo and plays with

it in his off moments. His clothes are not bad, but not

stylish or attention-getting either. He wears black

oxford shoes.

What Slava Reads: Slava reads the usual Soviet rags like

Pravda, but prefers western magazines and newspapers. He

finds them to be more entertaining and informative. His

favorite magazines are Time, Hustler and The National

Enquirer •.. in addition to Stamp Quarterly. He is a

voracious reader of Ian Fleming, Ken Follet and Robert

Ludlum.

Movies Slava Sees: Slava doesn't watch very many movies.

However, he does watch lots of X-rated videos which are

procured by mail order from the United States. His

favorite videos are the Debbie Does Dallas types.

What Slava Fears: Slava fears losing his prestigious

position in the party which means losing his house on the

Volga, his stamp collection and his Swiss bank account.

He also fears losing his freedom, a luxury found only in

the KGB ranks among certain individuals. For this reason,

he does not even consider failing. He is somewhat paranoid

about party power plays and giving support to higher ups

too soon. He has a morbid fear of fire ... so much so that

' I) 148 he refuses to smoke or let anyone around him smoke. He

fears detection by foreign counterspies and prays he will

never be captured by the enemy. If he is, he will most

certainly be used in a spy trade deal and then killed by

the always suspicious KGB to keep things secure.

Foods And Beverages: Drinks mineral water or Perrier.

Likes hot tea with his meals. When drinking alcohol, it's

usually vodka. He likes beef Stroganoff, spaghetti,

pizza, and frankfurters. He's nuts about putting catsup

on everything he eats. Addicted to eating chocolate ice

cream at least once a week (with whipped cream and syrup).

Political Views: Slava is apolitical, though he goes

through the motions and platitudes of the Communist

party line. He is also amoral. To him, there is no god

except the side with most power. Since the individual is

nothing, Slava thinks, the individual's actions are also

nothing. Whatever works is acceptable.

Other Past Occupations: While growing up Slava worked for

a while in a clock factory. He was an apprentice to the

craftsmen who made fine watches and clocks. Was active

in helping build up the Soviet merchant marine during the

1950's. At one time, he helped to train KGB underwater

divers to operate from soviet ships in foreign harbors. He

is believed to have ordered the beheading of a captured

' f) 149 British diver during Kruschev's Naval visit to Britain in the 1950's, although the west was never aware of Slava's identity. For two years, Slava was an instructor at the Soviet Naval Academy and a recruiter for the KGB.

Marital Status: Married. Four grown children.

Vices: Stamp collecting, pride in his work, ambition.

Relationships With The Opposite Sex: To begin his climb to the top, Slava romanced a female clerk in the local bureau of rural electrification. She was the daughter of a district Communist party chief in Minsk. He married her, gained status, and rose up through the political ranks. Later, after several children and a life which took him away from his family, he took mistresses in Vladivostok, Warsaw, Berlin, North Korea and Angola. Not a sexual athlete, he kept his mistresses interested with money and nice things. Although a warm and loving husband, his real thrill is carrying out successful operations.

Music: He listens to opera records, Mantovanni and Perry Como. Does not play any musical instruments. He will hum music to himself while walking or doing something which requires great concentration.

Psychological: A psychopathic personality. Slava knows I/ the difference between right and wrong, but his illness is

. 0

150 in his lack of conscience about his actions and work. His utter irresponsibility has been channeled as a tool to be utilized by the party. He feels no guilt and suffers no anxiety for his actions. He washes his mind of the matter by saying "I'm so sorry" to the person he has just wiped out. He is highly intelligent, with an I.Q. of around 150, and he is a very charming person. He's not a very loving person and is somewhat cold in his personal relationships.

Educational Level: soviet Naval Academy was the highest educational level achieved. Has a great deal of technical training.

Places Of Residence: Minsk, R.F.S.F.R., Lenningrad, Moscow, Volgograd, Vladivostok, Tashkent, Oslo, London, Helsinki, East and West Berlin, Hamburg, Brest, Paris, Marseilles, Liverpool, Tunis, Trieste, Cairo, Zurich, Damascus, Pyongyang (North Korea), Yokohama, Singapore Hanoi, Ho Chi Minh City, Warsaw, Gdansk, Prague, ,. Tripoli and Vancouver.

Artistic Abilities: Slava considers killing people and intelligence gathering to be art. However, he also is not bad with watercolor paintings.

Family Background: Born in 1933 in the Soviet Union. His

151 family is not known to him. During a Stalinist purge in

1934, his parents were taken away and never seen again.

They were intellectual party members and were perceived as threats by Stalin's paranoic political apparatus. A local watchmaker in Minsk took Slava in and raised him as his own son. He was immediately put to work when old enough. If Slava messed up, he would be beaten with a leather strap, his stepfather saying "You will be so sorry for this!" When the Great Patriotic War began, Minsk was quickly overrun. Slava joined a column of refugees and witnessed death at close hand from enemy strafing. He watched his stepfather loot bodies. The stepfather even began looting wounded people who needed help. Slava saw him cut the throats of two of his victims so they wouldn't talk. A KGB man appeared on the scene and subsequently shot the stepfather. This incident deeply impressed Slava.

He equated the KGB man with personal justice and, from then on, he wanted to join. He thought "what a job it must be to go around killing people like my stepfather!" In the future, if he found it hard to kill someone, he simply visualized his stepfather in his mind and then carried it out. This prevented him from feeling any compassion or remorse for his victims. He spent the war in an orphan school and a watch factory, where he lost a part of his forefinger. He excelled in his studies and learned languages. This valuable asset impressed the

"right" people, and doors were opened to him at the Naval

152 Academy. There, he studied for several years and served

four in naval intelligence. During the 1950's, he married

to climb the party ladder and sired three children. He had

joined the KGB by then and spent most of his time outside

the U.S.S.R. Although a good family man in many ways, he

often beat his wife if she got out of line. He had a long,

successful career in the KGB and moved up to a key post.

However, politics intervened in his next step up the

ladder. His rival, Colonel Kuchevno, dug into Slava's

background and discovered his parents' histories. stalin was now long dead, so the old purges didn't matter. What did matter was that Slava's mother had been Lithuanian born. Slava was not entirely a true Russian, at least for

Kuchevno's purposes. This questionable heritage prevented

Slava from moving up to higher authority since the main bigwigs were essentially an all White Russian clique of communist "good old boys." Disgruntled, Slava took the

Pacific assignment. He hopes one day to do something which will get him enough recognition to send him back up the political ladder. If not, he intends either to defect or get revenge against the system in some way.

Sex: First had sex with the plain-looking Olga Tushinevna.

He was bored by her. Married her for political reasons.

Sex was a slam-bam-thank-you-ma'am matter with Olga. He took a mistress, Lola Zloda, while on assignment in

Warsaw. Lola was an aspiring actress and Slava opened

153 doors for her in exchange for good sex. He arranged several affairs with mistresses in other countries, and often used his girlfriends for intelligence gathering.

Sex became odd for Slava, and he engaged himself in S & M relationships with various hookers, sometimes using a strap and, more often than not, having it used on him .

.special Childhood Problems: No friends. His stepfather abused him. An unenjoyable childhood.

154 CHARACTER STUDY Thor Bergen

Occupation: International Salvager and Diver. Owns the Hammerfest Marine Corporation. Multi-millionaire.

Medical History: No allergies. Sturdy constitution and

excellent physical health. No broken bones. The usual

childhood diseases. Has some gold fillings. 20/20 vision.

Skills: An excellent entrepeneur. Skillful businessman.

Knows the underwater salvage and diving business backward

and forward. Knows how to install and maintain offshore

oil rigs, fight fires at sea, tow and salvage ships and recover treasure. Can operate sophisticated ships as well

complicated underwater technology such as ROV's, subs,

diver habitats, etc. An expert in underwater diving

operations. Known as the best salvager in the business. Has a great international reputation. Adept with small

arms weaponry. An accomplished skier and diver. can

fly helicopters. Skilled in operating cars, trucks,

snowmobiles and snowplows. Good leadership skills.

Hobbies: Likes to accumulate wealth. Often goes skiing.

Travels abroad on vacation several times a year. Really enjoys a challenge and loves to try his hand at solving

"impossible" problems.

' ~ 155 ~ilitary Service: Served two years in the Norwegian Coast

Guard on international ice patrol duties. Active member

of the Norwegian National Guard, holding the rank of

Lieutenant. Goes out on exercises twice a year and serves one weekend a month when not at sea.

Maritime Career: Inherited his father's business during the 1960's. Expanded the company when Britain and Norway

began to develop the North Sea oil fields. During the 1970's he made several million dollars working for British

Petroleum. His company serviced and maintained oil rigs,

and still does, when contracted to do so. He was one

of the main people responsible for the recovery of a large

shipment of gold bullion from the sunken cruiser H.M.S. Edinburgh. He is the foremost authority in the world on

Marine Salvage. His company is presently low on capital

due to the acquisition of new equipment.

Physical Characteristics: A big, husky Nordic type

with blond hair and a brown beard. Had Thor lived 600

years ago, one would instantly identify him as a Viking.

He is physically strong. Wears fur-lined leather clothes.

Personable. Although not a brilliant man, his sheer size and friendliness go a long way toward making a positive

impression when making deals. Has an automatic presence

wherever he goes. Basically a gentle man but, just the

same, not one to be messed with. Wears black jackboots

. " 156 and gloves. Carries a collapsible fighting baton in his

coat pocket. His English is reasonably good but he has a thick accent.

What Thor Reads: Diving journals and oil industry publications as well as the Wall Street Journal. He reads

the newspaper every morning.

Movies Thor Sees: He likes American movies. Favorite

movies are Beverly Hills Cop, First Blood and Lone Wolf McQuaid. He watches Dallas on Norwegian TV. He gets his

news, weather and sea condition information on the radio.

What Thor Fears: Thor fears losing his father's company

to hard times and creditors. The company is a source of

great pride with him. Without a ship, he feels like

nothing. Sees the company and himself as one and the same.

He also fears being crippled or turned into a vegetable

by a diving or maritime accident, like his father.

Foods And Beverages: Thor drinks lots of milk with a diet

heavy in poultry and dairy products. For dinners he eats

meat and potatoes. Some pork or lamb. Will sometimes

eat an entire iced cake in one sitting. Loves hot, fresh

home-baked bread. Not too crazy about fish.

Marital Status: Married. Three Children .

• 0

157 Political Views: Thor is a Norwegian Nationalist and has strong anti-communist sentiments, especially against

the Soviets who remain a menace to the north. He believes

in free enterprise and sharing profit with his crews.

Other Past Occupations: Worked as a lumberjack in his teens. Worked on fishing boats for a year but didn't like

it very much.

Relationships With The Opposite Sex: Took a lot of women to bed in his early years. Most of his relationships with women were not exclusive. He romanced the daughter of a

Norwegian banker, married her and had kids. Every now and then he is likely to cheat on his wife. However, he would become quite angry if she did the same to him.

Music: He listens to modern European Rock groups. His favorite artists are Mick Jagger and Tangerine Dream.

Psychological: A slightly insecure individual. Does not show this insecurity, except in sexual relations with his wife. He feels that it is necessary to cheat on her in order to make sure he's still got it. A man of average intelligence, his success is due mainly to bullheadedness and persistence.

Educational Level: High school graduate. Bored by school.

158 Places Of Residence: Alta, Bergen, Oslo, Stavanger, Trondheim, Bremen, Narvik, Malmo, Stockholm, Hamburg, Reykjavik, Edinburgh, Aberdeen, Amsterdam, Antwerp.

Artistic Abilities: can roll a cigarette one-handed.

Family Background: Born in 1946 in Oslo, Norway. Raised by his father and mother. Has three sisters and one brother. Nothing special in his background. Liked to do lots of physical things in his teens. Played soccer. Father crippled in marine accident in 1967. Thor was forced to grow up and run the company with his father's advice. All relatives still living.

Sex: Had good sex with lots of local girls while he was a lumberjack. Fooled around less as he grew older.

Special Childhood Problems: Had trouble in languages and mathematics.

Typical Utterances: "This is not so good." "I like to think about it before I give my answer."

" .... we fight." "I blow up my ship before I let you rob me." "You must be careful on the sea. Sometimes the ocean is hungry and, Snap! ... swallow you up."

159 CHARACTER STUDY Misha "The Bear" Orlov

Occupation: Contract killer and operative for the KGB.

Medical History: Nose broken 6 to 10 times. Five teeth replaced. Over the course of his life, 12 bullets of various sizes have been removed from his body. Has been hit by two shotgun blasts and survived. A very tough man. Partially deaf.

Skills: He's a good fighter and very hard to knock down. Not very intelligent, but very deadly. Can squeeze people to death or break their necks without straining. If he gets hold of someone, that person is usually as good as dead. Knows how to use firearms and hand weapons. Also has basic training in handling explosives. Can drive a car or a truck, but has trouble with bicycles. Can read maps and simple instructions, but that's about all. A brute.

Hobbies: Likes to watch cockfights, dog fights, spider fights, boxing matches, gang fights and hockey.

Military Service: Served in the Soviet equivalent of the Marines. Was a boxer in the service, but his lack of speed prevented him from going to the Olympics. Attained the rank of sergeant.

160 KGB Career: Recruited by the KGB to spy on their own people abroad. If someone looked like a potential defector, Misha would take care of them. He's usually the man they use to physically kidnap people. He makes good money and has been employed by the KGB since 1968. Often, the Polish SB will borrow him from the KGB, with Moscow's permission. Has been wounded on and off duty many times.

His tendency to get drunk and wreck bars and brothels is a source of concern for the KGB.

Physical Characteristics: The man looks like he fell out of an ugly tree and hit all the branches on the way down.

His nose has been hit so many times it looks like a thumb.

He's big, powerful and rugged. He can crush full beer cans and bottles with one hand. He can break objects against his forehead with only minor irritation. He's slow. Wears long hair and has a goatee. You might mistake him for a biker.

What Misha Reads: He reads anything with lots of pictures in it. Likes comic books and porno magazines.

What Misha Sees: He likes to watch violent movies. Among his favorites are Frankenstein, Terminator, King Kong and Halloween. He also has a sentimental streak for films like Dumbo and E.T. His favorite TV shows are animal programs.

161 ~hat Misha Fears: He fears getting beat up or killed by

somebody smaller than himself. This would be a great

embarrassment to him.

Foods And Beverages: He eats raw meat and rare steak when

possible. He takes steroids and eats protein powder. Has

a taste for whiskey and drinks it while he smokes pot.

Sometimes will take PCP.

Political Views: None.

Other Past Occupations: Worked in a steel mill.

Status: Single, with children from girlfriends.

Relationships With Opposite Sex: Since he's so ugly, he

sometimes will rape a woman if he thinks he can get away

with it. He mixes violence or threat of violence into his

relationships and will often terrorize women. Beating

women is common for him. He has killed two hookers in

czechoslavakia. He likes hookers because it gives him a

power trip over women.

Music: He listens to acid rock and heavy metal music.

Any music with discordant patterns is pleasurable to him.

Any music with heavy, primitive, harsh drum beats perks

him up or makes him become angrier more easily.

' d 162 Psychological: Women find him unattractive and this makes

him very angry. He's knows he's ugly and he will smash

anyone who looks at him the wrong way. Hookers know what to say to him and how to control him. He has a low order

of intelligence and learning problems. His memory is not always very good, but show him a picture of what you want

want him to do, or who you want him to kill, and he will

do exactly what you want. He sometimes goes after male

hookers, "pretty boys," who wear eyeshadow. He's into violent and kinky sex, bondage and domination.

Educational Level: Equivalent to completion of 4th grade.

Places Of Residence: Odessa, United States (including

Hawaii}, The Philippines. Among his favorite places are

New York City, San Francisco, Hong Kong, Hamburg,

Amsterdam and London.

Artistic Abilities: He likes caring for little hamsters. He carries one in his coat pocket.

Family Background: Born in 1955, Odessa, U.S.S.R. Found

in a garbage can. Raised by a fishing family. Liked to

beat up on smart kids. Was kicked out of every school he

attended. Failed at trade school. Turned to boxing.

was used as a sparring partner for Olympic hopefuls.

Prison boxing champion.

' ~

163 sex: After raping a "pretty girl" while in the Marines, he was sentenced to prison. However, the KGB saw his usefulness as cannon fodder and put him into their service.

After this he frequented prostitutes and often engaged in bizarre sex.

Special Childhood Problems: His only friends were smaller boys who used him to terrorize others.

Standard Sayings: "You so smart .• I make you dead smart."

"I kill."

"Pretty woman."

"I crush his head!"

"I crush her head!"

"Little hamster, I call you Little Misha. You stay in my pocket now."

"Aargghhhhhh!"

164 CHARACTER STUDY Professor Frank Zucharski

9ccupation: College professor. His specialty is Eastern European languages.

Medical History: Had a mild heart attack in his early forties. Has had the usual childhood diseases. Suffered from polio attack in his childhood. His left arm became paralyzed and only partially recovered. Otherwise he's in average health. Goes hiking to maintain his health.

Skills: Can translate Russian, Polish, German, Finnish, Hungarian, Bulgarian, Moldavian and Czech. Also speaks several languages fluently. Basically, a professional linguistic scholar. Tinkers with artificial intelligence for computers as a sideline.

Hobbies: Collects cars of all kinds. Restores American cars from the 1950's and takes them to auto shows. His favorite car is a 1962 Imperial convertible. Goes to drag races and stock car tracks.

Military Service: None.

Teaching Career: Began teaching at Vanderbilt. Eventually taught at u.c. Berkeley, Stanford and San Francisco State.

165 Offered the department chair at San Francisco State in 1977. He accepted.

Physical Characteristics: Short, thin and non-descript.

Dark hair. Smokes cigars. Wears baggy tennis clothes and a tie.

What Frank Reads: Reads computer journals, Hot Rod and other car magazines. Road and Track is his favorite

periodical.

Movies Frank Sees: He has the movies Grand Prix and

Le Mans on video tape.

What Frank Fears: He fears getting into a car wreck. He

had a near-fatal wreck in his teens. Spent four months in

a hospital.

Foods And Beverages: Likes standard American food. Can't

resist cream puffs.

Political Views: Started out as a liberal Democrat and turned into a conservative Republican. Has not voted in twelve years.

Other Past Occupations: In his teens he was a flag starter at a race track. Tried his hand at racing and wrecked

166 ~ ~-~--...-...... ------·--~- -~---~------·--·------~--·--·--··--

his race car. Became a tour guide at Disneyland because of the languages he spoke. Joined the Peace Corps for two years. Eventually became a professor.

Status: Divorced. Living with girlfriends off and on.

yices: Will get so wrapped up in talking about cars that he will sometimes blank out everyone else not involved in the discussion.

Music: Listens to electronic and computer generated music.

Psychological: Had a death wish when younger. Finally overcame it when he got a good girlfriend. Finds his multi-ethnic hometown in California to be backward and embarassing. Offended when he sees people exhibiting the behavior or naivete of his own youth.

Educational Level: Ph.D.

Places of Residence: Sacramento, Tennessee, Los Angeles,

Berkeley, San Francisco, Menlo Park, Daly City.

Artistic Abilities: Excellent at custom painting and restoring cars.

Family Background: Born and raised in Sacramento during

167 the 1950's. Family and community largely eastern European.

Had a knack for picking up languages. Childhood not

remarkable.

Sex: His first sexual feelings occured when he saw his

first Corvette. Othererwise, he's an impersonal lover and

has a tendency to make women angry at him.

Special Childhood Problems: His parents always gave him

little metal toy cars for his birthday and Christmas.

They created a fiend .

• t}

HiS CHARACTER STUDY

Mr. Louis Parker Boyd

Occupation: Self-employed. Millionaire owner of a successful recycling firm.

~edical History: Was born a dwarf. Has bursitis in one shoulder.

Skills: A very streetwise individual. Has the ability to see innovations and put them to work as moneymaking

propositions. Very bright, though uneducated. Likeable

and personable. Shrewd with money. Very sensitive about

his stature. Uses his handicap to his advantage since people often underestimate him. Plays croquet, polo and

lawn bowling. Can drive a car or an ATV. He's loaded with common sense.

Hobbies: carves wood, plays drums and shoots skeet. Enjoys a good game of poker. Has entered several professional poker tournaments. Likes to go boar hunting

with pistols while riding All-terrain-vehicles.

Military Service: Wanted to join the armed services but

was turned down because of his size. This was an insult to

him because he was patriotic and wanted to serve his

country .

. ~

169 - ~~-~- --- -·-·------~~ - ---- ~- ~------~ - --~------~ ---~

Physical Characteristics: He's an aging dwarf. He wears

tailored suits with string ties, diamond cuff links and

boots. Does not wear any hats. Drives a Cadillac modified so he can reach everything. smokes cigarettes in short

cigarette holders.

What Louis Reads: He reads the Wall Street Journal and the

san Fransisco Examiner. Also subscribes to magazines on

country and western living.

Movies Louis Sees: Louis watches old cowboy movies. Among his favorites are High Noon, Gunfight at the O.K. corral,

Shane and The Big Country.

What Louis Fears: Having free time with nothing to do is

his greatest fear. He's a workaholic.

11 11 Foods And Beverages: Drinks beer (likes 0ly ). A meat and potatoes man. Eats oatmeal for breakfast. Loves fried

chicken and ribs.

Political Views: He's a patriot. Believes in the American

way and the American dream. A God and Country man. He did

not like Nixon, but loved LBJ. LBJ is his hero with FOR

coming in a close second.

Other Past Occupations: Had trouble getting good jobs

. ~

170 when younger. Took jobs in factories and mills doing work in places other people could not fit into. His big break came in World War II. He got a job in an aircraft factory doing finishing work on the insides of aircraft tail sections.

Status: Divorced. One daughter (Kettie Boyd).

Vices: Horseracing. Inattentive husband and father. Cigarette smoking.

Relationships With The Opposite Sex: He always dated tall blondes. This created problems when dancing and romancing. overcame his handicap with charm and assertive behavior, always acting as if he were normal sized.

Music: Listens to Willie Nelson, Hank Williams and Hoagy

Charmichael.

Psychological: overcompensates for his size and lack of acceptance by aggressive, success-oriented behavior.

Is probably a genius but never got past high school due to his environment. He's highly motivated and sometimes rude to people who bother him. Otherwise, he's a very positive person.

Educational Level: 11th grade.

171 Places of Residence: Louisville, Detroit, Houston,

Denver and San Fransisco.

Artistic Abilities: He once wanted to be a country music singer.

Family Background: Parents were regular sized. He grew up in Kentucky and was taunted by bigger kids. Played the organ at church and helped collect the collection plates.

Joined a gospel show and was offered employment in a carnival. Eventually moved to Detroit during the 1940's in search of work. Went to work in an aircraft factory.

Learned a lot. Met and married his wife later, and had a regular size daughter. Eventually moved to San Francisco and went into several businesses, selling each of them once he had made it a success. Then he struck it rich in the recycling business during the 1960's. He became very wealthy.

Sex: Does not discuss this area.

Special Childhood Problems: Other than getting picked on and being called names like "Shorty," "Midget," "Shrimp" and "Junior," he had a normal childhood.

172 CHARACTER STUDY

Vasili Krivda

Occupation: Merchant seaman for the U.S.S.R.

Medical History: A few cavities in his teeth. Otherwise

Krivda is in fine shape.

Skills: Was once a beekeeper. Knows deck safety and maintenance on board merchant vessels. Has helped load and unload many ships. Has general carpentry skills and can drive a car or pilot a whaleboat.

Hobbies: Plays a mandolin. Also plays cards, pitches rubles and throws dice.

Military Service: Spent three years as an enlisted man in the Red Army. Hated it.

Merchant Service Career: Joined the Soviet merchant and fishing fleets with the intention of defecting to the West once an opportunity arose. Has spent 3 years as a merchant sailor, so far with no opportunity to jump ship and live.

Physical Characteristics: An average-looking man of average height and weight. Wears wire-rimmed glasses and black merchant sailor clothes. Often wears a knit cap and

173 ~ ·-----'--~--- ~-~---·------·------..--,------.----~

a wool turtleneck sweater. Nothing remarkable about him

except for a birthmark on one of his temples.

What Vasili Reads: He has a secret smuggled copy of People

magazine. He's fascinated by literature about America.

What Vasili Sees: Seldom sees movies or TV shows. Likes

to listen to foreign broadcasts on a transistor radio he

keeps hidden.

What Vasili Fears: Vasili fears he will be caught and

never get his chance to go to America and get rich quick.

Foods And Beverages: Eats standard Russian merchant fleet

food. Tries to get fresh fruit and delicacies when the ship docks in Cuba, Angola, Vietnam or the Mideast.

Political Views: Wants to be a materialistic capitalist.

He thinks the Soviet system "stinks." He's a Ukranian and doesn't like what he perceives as the anti-Ukranian attitudes of the Soviet government. Being a minority, he's on the low end of the totem pole. He would like to see Ukranian autonomy but will settle for getting the hell out of the country.

Other Past Occupations: He has worked as a beekeeper, a truckdriver and a longshoreman.

174 status: Engaged to be married. Considers his fiancee to be expendable.

Vices: Excessively greedy. He's always thinking about money. He steals when he thinks he can get away with it.

Music: He loves Ukranian ethnic folk music. He enjoys playing his mandolin.

Psychological: He's a real creep. He does not respect the values and property of others. He's a two-bit little con man and a liar. Would make a good hood in a capitalist country. Probably psychotic or at least displaying compulsively selfish and anti-social behavior.

Educational Level: He's a high school dropout.

Places Of Residence: Odessa, Leningrad, Tallin, Kiev, Murmansk and Vladivostok.

Artistic Abilities: Good with stringed instruments. Lying is more than a science with Vasili. It's an art.

Family Background: Born on the outskirts of Kiev on a communal farm. Didn't like doing hard work. Often stole fresh vegatables and sold them on the black market. His folks were ignorant Ukranian farmers. At his first

175 opportunity, he joined the Red Army to get away from farm

life. While on manuevers, his tank outfit made a wrong

turn and ran into a bee farm. He was a tank driver and

ran over a portable beehive. After the bees had left the

area, Vasili was ordered to clean up the wrecked hive

where he soon discovered the diary of the Admiral Nakhimov.

He hid it but could not locate the diary cover before he

left. Someone else found the cover and the puzzle ended up

in the hands of the GRU and, eventually, the KGB. The

KGB realized the economic importance of the diary and

assigned an agent to track it down. Finally the agent,

Yuri Titov, boarded Vasili's ship in the Pacific. Vasili

decided to take a chance and jump ship in the Caroline

Islands ... or risk losing it all.

Sex: A womanizer. Likes "dirty" illicit irreverent sex.

Does not make love to women. Instead, uses his organ as

a "love weapon." He thinks he's better than he really is.

Special Childhood Problems: Just a bad seed. He turned

into a scheming thief while young.

' t} 176 CHARACTER STUDIES

The Chauffeur

The Chauffeur can be a man or a lady. The Chauffeur

dresses appropriately for the job of driving the limousine.

This character has a good sense of humor and is a common

person from the lower or lower middle classes. The

age may be young or old. The method of speech must be

rapid. This is not a typical, stereotyped minority and

definitely not an idiot. The Chauffeur knows how to handle

a limousine with the expertise and finesse of an Indy

driver and the skill of an astronaut. He/She knows when to

talk and when to be silent. This character is sharp, quick

witted and streetwise. He/she sees things if they look out

of place for the area. The Chauffeur also would know where

to find most anything in the city, including shortcuts and

and the right people to do certain jobs. Probably a

cavalier individual with more than one love interest. Or

perhaps even a family person.

The Bodyguards

These two might be brothers or even twins. Probably

worked as bouncers in bars or strip joints. outdoorsmen

or urban country folk. Not surprising if both carried

Bowie knives and pistols. Real roughnecks.

. ~ 177 CHARACTER STUDIES

Yuri Titov

He's a KGB agent. Carries a pistol and conducts

investigations and surveillance. Much the same as a cop

or private detective. Most of the time bored. Goes about

job matter-of-factly. It's just a job and all he wants to

do is retire before somebody shoots him.

Captain Atarov

A career naval officer in the Soviet Submarine

Service. A decent fellow and a thorough provessional. He

considers himself to be humane and honest. Loyal to his

crew and does not like the KGB. Spies and secret agents

make him nervous. Not a coward, but does not like risking

his men or his vessel on dangerous "political" operations.

Feels a comradeship with all sailors and seafarers and has

a distinct bias against people controlled by paperpushers.

Soviet Assassin

Exists merely as an additional stumbling block in the way of the "good guys," making them even bigger underdogs.

178 CHARACTER STUDIES

Soviet Assault Troops at the Climax

This is really a faceless horde of menacing soldiers who have one mission ... kill the "good guys." They are

symbols of western audience fears of the "Soviet peril."

They are a symbolic represention of the cold war turned

hot. Their cinematic purpose is to heighten action and

provide cannon fodder for the resolution of conflict.

Their indivuality does not matter.

Norwegian crew of the Oden

They exist to carry out the decisions of the heroes.

However, care must be taken to show their individualness.

Unlike the soviet gang, the Norwegians must be a group with faces and character. One must be able to see the full range of human emotions in their faces and actions. When they get hurt they feel pain. They rescue fallen comrades and care about the recovery of their dead. When they shoot

"bad guys" it is apparent they do not like seeing people get killed. They kill because they must. They are not enjoying a skeet shooting competition. This is, again, symbolic of Free Europe's resistance to Soviet domination.

And the gold is really symbolic of the common treasure of the Free World; that is to say, freedom itself.

179 APPENDIX D

Autobiographical Backstories of Selected Principals in the Screenplay

"THE WRECK OF THE ADMIRAL NAKHIMOV"

180 AUTOBIOGRAPHICAL BACKSTORY Rick Hogan

I was born on September 20th, 1944. At the time, My Dad was overseas in Italy, fighting the big one. You know, World War Two. Waitland ain't much of a place as far as towns go. There were a lot of towns like it in Nebraska. We had a town hall and library with one of those old civil war cannons in front of it. And there was one little restaurant that we ate at once in a while, you know, air conditioned and with ceiling fans. It even had a juke box.

But it was mostly a farm town. I think we must have had

3000 people there back then. I don't remember much about when I was a kid. There wasn't much for kids to do. There were some neat places you could go to, like these old buffalo sink holes out on people's farms. You could go swimming in them during the rainy season. Sometimes, if you dug hard enough, you could find old Indian arrowheads. My Mom and Dad weren't rich or nothing. They drove a 1940 Ford. That was a good car. Lots of room inside, not like the cars they make nowadays. Dad worked at the railroad maintenance yard in town. He used to help fix trains and things like that. Mom worked over at Burke's clothing mill. She sat at a sewing machine 8 hours every day. There wasn't much to do there. My Dad would stop at the nearest bar and drink before he came home. And my Mom would sit there listening to the radio, or making dinner.

181 She was a chain smoker. Two and a half packs a day. That's what did her in. My folks were funny. They used to make me and my sister go to church, even though they didn't go. They said it was good for us and it would keep us out of trouble. Me and 'Sis were bored. We didn't know how to sing the songs or nothing so we just kind of mouthed it on the hard parts. I remember one day, I guess I was about 9, I was walking down by the railroad tracks and all of a sudden there's this big bang, like a bomb went off or something. I saw all this smoke and dust and ran towards it. When nothing ever happens, you run after disasters, not away. One of the big grain elevators had blown up. Some fella'

was smoking when he opened the silo hatch. All that dust, you know, goes off like a rocket. That was the first time I ever saw a big commotion. People talked about it for the next ten years. I used to sweep up the church to make a little pocket money. I was making 35 cents an hour; pretty good for the 1950's. The minister there, Mr. Willard, was one of those hellfire and brimstone types. He was good at getting people stirred up. He had this pretty daughter, I forget what her name was. Anyway, she ended up being a Hari­

Krishna. I think it was just to get even with the old guy. Then, when I got into Junior High, I got my first

good job. I delivered papers for the Waitland Sentinel.

Bob McBean, the circulation manager, started this contest

• <) 182 for all us paper boys. He had this big plastic model on display. It was an ocean liner. He said whoever got the first 100 subscriptions would get the model. so we all ·went out thinking it would be ours. After three weeks, I managed to get my 100. But that old creep; he said somebody just called in and canceled. McBean didn't live up to his promise. And who got it? Billy Jim Floyd! The mayor's son, whom I had beaten fair and square, ended up with that model. Politics, see? This life is all politics! That's the way you win when you don't earn it! My Uncle Vic was the greatest guy I ever knew. He used to visit us every two or three years. The guy was a Chief in the Coast Guard. He'd talk about when his tin can was crashed by a Kamikaze off Okinawa or the time when his cutter almost hit an iceberg up in Alaska. I think he was one of the biggest reasons for my joining the Navy. He used to take me aside and show me how to tie knots. And once, he told me there was a whole world out there to see.

That Waitland didn't amount to much more than a pimple on the behind of the Earth. And he used to bring us things. Once he brought me a Samurai dagger all the way from Japan. And to this day I still have it. He and my Dad were brothers but I could tell they had a little bad blood between them. I don't exactly know what, though. When I got to High School I took some shop courses. My Dad wanted to steer me into a trade, like machining.

I liked auto shop and drafting more than anything else .

• tl 183 There's just something about me and machines, I guess. I had a real liking for engines. To me, there's something magical about motors. I guess it's because they're the closest gadgets to being alive. There's something about the way they sound. If you listen, a motor will talk to you. I guess it's almost like being a doctor, working on engines and machines. Anyway, the shop teacher, Mr. Green, noticed how good I was. He told me I had the talent and the knack for this stuff. So, he told me there was a job opening for an apprentice mechanic over at Mr. Butz's

garage. Well, I got that job. It was weekend work, but I learned a lot and made good money. Pretty soon, I bought my first car .•• a 1950 Studebaker. I thought it was the greatest car in the world. And I was only 16 when I got it. I would have had to work summer farm jobs for two years in a row if it hadn't been for the job at the garage.

That's all I would have needed, to get bit by some molting rattlesnake while I was picking watermelons. So that's how I learned to work on diesels and regular engines. I got introduced to steam power when one of the local farmers towed in an old steam-driven prairie tractor. There wasn't an ocean or a beach to go to in Nebraska. So, the best place to go to was the Platte River. The Platte wasn't the deepest river, but it was wide and it had plenty of water in it during the summer. It was one of the few places in the state where you could find lots of trees.

I used to raft out to sandbars with friends, and we'd go

. 0 184 fishing. You'd find long, skinny islands with trees in the middle of the river, too. And there was this long metal cantilever railroad bridge that crossed it just north of

Waitland. The hobos and bums used to hide out in the bushes at the turn in the tracks just before the bridge.

The freight trains would have to slow down and the hobos would jump on or off right there. We called it Hoboville.

One time, I went in there for the weekend. They were real interesting people. I met Big Jack from Winnipeg and

Prince Albert (that's what he called himself because he had this pipe and pouch of tobacco). That was the weekend

I saw a chainfight between Crazy Horse Jones and Topeka

Tom. They went at it with chains and hammers and railroad spikes. It was a real mess, too. I figured I didn't want to stick around there after seeing that. They were killing each other over a quarter. Topeka Tom said it wasn't the money, but the principle that was important.

I played on the high school baseball team during the

Spring for two years in a row. I just barely qualified.

I was okay when it came to hitting, but I couldn't get the hang of playing any of the bases. They tried me out for first base but the coach hit a line drive that bounced and hit me square in the balls. And I wasn't wearing a cup, either. It took me an hour to start walking again, and my Dad ended up giving me a ride home. The coach must have felt bad or something, so he picked me for the team. They put me way out in right field, where you catch what the

185 left-handed batters hit. I did all right, too. We were called the Waitland Whirlwinds. I remember we were playing for the league pennant. We lost that game to the Grand Island Bulldogs. But it was my one shining moment. During the bottom of the eighth inning, we had two men out and I was up to bat. They were ahead by one run. Now, at the back end of the stadium, behind the green wooden fence, there was this big statue of a cowboy. His legs straddled this hillbilly bar called Bazooka Joe's. People would come from miles around because you could see his eyes glowing at night. That's how Bazooka Joe attracted his customers. (He used to help buy uniforms for the football team.) Well, the pitcher threw two strikes right by me. Then a ball. And then everything clicked just right. I swung the bat and lucked out. The Bulldog's pitcher threw a fastball and, when I hit it, it took off like a rocket.

It hit the big cowboy in the left eye and blew out his floodlight. It must have overloaded the transformer inside him. Everybody in the stands stood up howling and pointing. All these sparks were shooting out of the cowboy's mouth! He looked like he was throwing up the Fourth of July! Well, after that, I was famous in high school. That's how I attracted the attentions of the infamous Norma McAllister. Now, Norma was a real beauty. Later on, I heard she was selected as a runner up in the Miss Nebraska contest. Well, I got my Varsity letter for doing in the

186 giant cowboy. People started calling me the cowboy killer. And Norma, sly as she was, proceeded to notice me, and before long, she was wearing my sweater. I was totally nuts about her, too. Pretty soon, we were in the back seat of the Studebaker and, well, I won't get specific, but we had ourselves a good time. After that, that was it. All I wanted was her. I figured I'd delay going to college and work for a year in the garage. Meanwhile, I bought her an engagement ring. Then, one night, I got called by Ed Logan at Speedy Pizza. Ed was on the baseball team and he told me he had a family emergency to take care of and could I please deliver pizzas for him that night? So I did.

Wouldn't you know it, the first place I delivered a pizza to had this pre-graduation party going on. Some of the boys and girls were running in and out of the bushes without any clothes on. Someone told me to take the pizza to the pool. so I did. And there was Norma making it with Billy Jim Floyd in the water! I was mad. She just looked up at me, smiled, and said "Well, it's just one of those nights, isn't it?" Billy Jim puffed his cigarette and told me to go have a sandwich at the snack table. So, I put down the pizza and picked up a bunch of peanut-buttered bread slices. Then I went over to the pool and let them have it good! Norma's beehive hairdo took four sticky slices. Her hair was so messed up afterwards that she had to get it cut real short. Billy Jim went under. But when he came up for air I let him have it with the pizza. I was

187 mad! Norma kept the ring, claiming that it was hers

anyway. I was plenty happy just to get rid of her.

Two weeks later I graduated.

It wasn't much of a summer. I got drunk a couple of

times. There wasn't anything for me in Waitland anymore.

I remembered what my Uncle had told me about the coast

Guard. We didn't have a Coast Guard recruiter in Waitland,

so I visited the Navy recruiter right next to the post

office. Pretty soon, I had signed up. The recruiter told

me I'd see the Orient. That's what finally convinced me to

join. I had always wanted to see the Orient. I remember

sneaking into the carnival tents when I was 14. I got to

see a real burlesque show! It had this one exotic dancer,

she was Chinese or something, and she used fans. She had

black silky hair halfway down her back. I thought she was

the most beautiful woman I'd ever seen. That's one woman

I never forgot. "I have to see that part of the World," I

said. And so I got my chance. I went through Boot Camp

training and started out as a seaman in the Navy.

They sent me through Engineering School, because of

my mechanical aptitude, and I learned about Marine engines.

I won't get into the technical aspects, but I will say I

learned a lot about machinery and ships. I started out as a fireman on board a rustbucket called the u.s.s. Neosho. The rest of my first hitch was spent going from one ship

or base to another. I liked the Navy. It was good to me.

Then I got an opportunity. The Vietnam war was escalating ./

188 and they needed maintenance and service people who could

work underwater. So, I signed up for my second hitch.

By then I was a Chief. They sent me to the diving school

at Pearl Harbor. That's where I learned scuba diving and

underwater welding. They assigned me to an elite outfit; UDT or, Underwater Demotlition Teams. There, I became a

divemaster. Because of the war, the Navy needed me to

work with the Navy Seals; an elite commando outfit that used underwater gear and rubber boats behind enemy lines.

A ,lot of their missions were in the Mekong Delta, so I

volunteered for duty there. They put me in charge of a

river gunboat, the kind they showed in Apocalypse Now.

They trained me how to use weapons. I really liked the

flamethrower. It reminded me of starting fires in the weed

patches back in Nebraska.

Then I arrived in Saigon. Vietnam was a different

place, that's for sure. At first I didn't like it. It was hot and it rained a lot. I always felt sticky. I had

four crewmen on my boat. We were stationed a few miles up

from the mouth of the Delta at Can Tho. They had a hamlet and an Army helicopter base there. We only saw the Seals

once in a while. Most of the time, we patrolled up and down the river. our alternate base was Cho Binh. That's

the hamlet where I met and fell in love with Ginny Nguyen.

When I saw her, she reminded me of that exotic dancer I'd

seen at the Nebraska carnival. There's a saying Vietnam

vets have about involvement. Those who didn't get involved

. " 189 with the local people came back home. Those who did,

usually got killed. Well, I didn't get killed, but I got

involved too much. our flotilla got a new commander. His name was Ramsey. Talk about an asshole. When he arrived,

we started getting sent into hot spots all the time. I remember having to pick up a platoon of Marines who got trapped in a swamp by the vc. Now those guys were glad to see us. When we got back to Can Tho they bought us drinks.

July was a bad month. The VC attacked the road by Cho

Bihn. Air cavalry landed and a firefight broke out around

the village. We were all set to motor in and pick up refugees on the river bank, when Ramsey got nervous and

called for an airstrike. Something went wrong and the

airstrike hit the village. Napalm landed all over. Not

very many survived. Ginny wasn't among those we picked up.

After that I just kind of felt angry and empty inside. I

found Ramsey in a whorehouse bar in Saigon and decked him.

I was lucky nobody else liked him either. I got out of the

service about a month later.

After Vietnam, I worked at various jobs, mostly in the Pacific. I worked in Norway for a year, out in Stavanger.

I spent some time in Bergen, too. That's where I worked

with a fella' named Thor Bergen. I don't know if that was

his real name, but it sort of fit him. We had to tow oil

platforms, some of them as big as skyscrapers, into the

North Sea and secure them to the drilling sites on the

/ ocean floor. It was tough, cold work. We had to wear

190 heated dry suits with electrical tethers to the surface.

I made quite a bit of money out there. Then I traveled back to the Pacific and worked more off~beat jobs. I picked up Grog, my dog, in New Zealand. Then I heard about some opportunities in the Carolines. I bought and refitted a rusty old LCM. That's an ex-landing craft, but a big, enclosed, ocean-going one. I started up my own salvage, transport and delivery service in islands and I managed to make a decent living. Two years ago, I was salvaging some antiques from a sunken Maru. I wasn't paying attention and I got attacked by a shark. He almost took a chunk out of my leg. But I was lucky. I put a tourniquet on it and made it to a hospital on Ponape.

If you want to lose yourself, the South Pacific is a great place to do it. People don't bother you here.

And me? There's no one to tell me how to run my life.

And that's the way I like it. So how did the Dodgers do this week?

191 AUTOBIOGRAPHICAL BACKSTORY

Kettie (Katherine) Boyd

This is so strange. Why do you want me to talk about my life? I'm flattered, but is there a reason for this?

Okay, umm ... you want me to start at the beginning? Okay.

I'm kind of scatterbrained right now, I haven't had my expresso. Oh, it's right here in front of me. Mmmmmm.

My mother always thought I was a little flakey. That's what happens sometimes when you're really intelligent. My father is intelligent, too. That's the reason he's a millionaire. He invents things. He invented this big metal recycling machine. You feed things in at one end and it spits things out in blocks at the other. He's a short man, you see. I think it has something to do with the need for stature ... inventing these things. He didn't pay much attention to me as a child. My mother was very attentive, though. I don't see how they ever got together. They are so different. They were vacationing in Hawaii when I was born. My Mom was on the beach at Waikiki when the labor pains started so they rushed her over to a Mumu shop and that's where I was born. What a nice way to come into the world ... in the middle of all those flowery clothes. That was 1953.

All I can remember about my childhood was that I grew up on a small estate in South San Francisco. My father had riding stables built, although he didn't ride often. He

192 bought some polo horses and joined the polo club that met in Golden Gate Park. When I was small, he kept a Shetland pony for me. I had problems with asthma and other things when I was young, so I didn't do a lot of things. once in

a while, now that I'm in my thirties, I still have some trouble breathing, but that's a rare event. I was always a little awkward. I bumped into things a lot and broke them. Maybe it's because I have funny feet. The family doctor said I was pidgeon-toed. I hate that phrase ..• it makes me sound like a bird. I had to wear metal braces for a year to straighten out my legs. The doctor suggested that I should do some exercise to improve my health. I tried ballet for a year, but I just didn't have the grace.

Besides, my father didn't think ballet was very practical so he put me on roller skates. I fell down a lot but I finally figured it out. Then he put me on ice skates.

I tried figure skating but the figure skates had little teeth in the front and they gave me trouble. So I got a pair of hockey skates. I was 10 when father put me on an all-girl hockey team. We got to wear these suits and use wooden sticks. For the first time, I got to hit people and have fun doing it. That's what got me into sports.

I was kind of lonely as a child. I didn't have many friends. I remember I had tutors to help me study. I went to a Catholic private school in the city. It was an all-girl school and it was run by nuns. The nuns wore black and white habits. Most of the girls were scared of

193 them. There was one sister you didn't make trouble for ...

sister Florence. If you did something bad, she'd hit your

hands with a hard ruler until they had welts on them. That

happened to me once. I went to school there until I turned

13. That's when my mother and father broke up. Mother moved to the Chicago area. I got to live with her there.

She enrolled me in a private prep school. There weren't

any boys there, either1 I joined the school swim team and,

later, a few other sports. It was in this prep school that

I took my first journalism class. I wrote little articles

for the weekly school newspaper. I enjoyed the experience.

Into my second year of prep school, my mother remarried and I got sent back to my father. Now you can see why moving around doesn't bother me. My father didn't have much time and decided to send me to a boarding school in

Rome. That's were I learned to speak Italian. I already spoke Spanish so it wasn't that much harder to learn.

Rome was a different place. Europe's a shock if all you've ever known was the United States. I spent some time reading foreign magazines and travelling through Italy. I met my first boyfriend on a train to Milan. His name was

Arturo. Since Arturo lived in Milan, I got my father to send me to a boarding school there. It was great. Arturo took me to the Italian Alps on weekends. We went skiing.

He was an instructor at a ski resort there. That's where I fell in love with skiiing. Summers weren't so great. I'd have to go back to the states to live with father or

194 mother. I took a Tae Kwon Do course one summer and entered

a tournament. That's where some Filipino girl busted up

two of my teeth. I had to get caps for them. But it

didn't sour me on the sport. I eventually earned a brown belt. I went back to Milan in the fall of my 16th year.

I worked in the ski lodge pro shop during the weekends and I was madly in love with Arturo, although we hadn't really done anything intimate. I was naive. I wanted to be with Arturo all the time. Finally, he just brushed me off and started seeing this Italian girl who rode a motorcycle and wore leather pants. I was so mad! I was hard to be around and I started making trouble at school.

I took a short vacation in Venice. Italian men, I can't stand them. I was standing there on a street corner and this Italian guy in a striped shirt just walks up, says something in Italian and grabs my breasts as he starts singing. I just froze. I couldn't believe it! Then he pinches my behind on both sides and runs away laughing!

I screamed. I went to the police. But, I was embarrassed.

The man violated me! From then on I made sure not to give people like that a chance. That's when I started wearing less appealing clothing. I hate my breasts. If I wear nice things, men just stare at my bustline. Maybe I can get it reduced or something. I was hard to get along with.

I turned rude. The next summer my father decided to semd me to another school •.. in Barcelona.

Meanwhile, I joined a roller derby team for a few

195 weeks. I got a lot of bad feelings out of me that way. Every time I'd see a pretty, dark-haired woman, I'd trip her or elbow her so she'd fall on her butt. Barcelona was very warm and very nice. I spent a lot of time at the beach. For the first time, I tried some music lessons. That's where I learned to play the piano. Spring was the last time I vacationed with girlfriends. We rented a car and drove all the way to Paris. I like the way France looks, but my experience in Paris turned me off of Frenchmen. Me and my girlfriends were walking down the left bank where all the artists show their work and, out of an alleyway, this drunk, crazy

Frenchman runs up to me, screams something in French and then bites my cheek! Before I could get away he bit the

other cheek! I was so surpised I couldn't even give him a karate chop. And that was the last time I saw Paris. When I returned to the states I was 18. I wanted to go to a University .•. someplace neat with Ryan O'Neil and Robert Redford type preppie guys. I figured they'd be professional and different. I entered the Harvard School of Journalism. I joined a sorority and even got my own apartment. That's when I ran into Rodney Burtonhouse. He wore these smoking jackets and smoked a pipe. I thought he was really something because he was so good at being an arrogant snob. Talk about a real butthead! I didn't see it, though. Not at first. He was living with me for five /. months. I thought this was the man. I picked up after

196 him, slept with him, you name it. He was a real smooth operator. Finally, one of my sorority sisters gave me the news; he was seeing at least two other women on campus. At first I couldn't believe it. Then I threw all of his things out the window onto the sidewalk, including his felt painting of Nixon. After that I decided to transfer to Columbia Unviersity for my second year. I moved to New York and got another apartment. Then, I started my studies and began writing for the school Newspaper. I fell in love with another jerk ... this one's name was James Buchanan Billington. Everybody called him "Buck." He was in the business school. He drove a Triumph Spitfire and acted like a real man of the world. I lived with Buck for five months. So did one of my girlfriends when I was in class. Ugh! Men! The next year, I attended stanford and lived in Palo Alto. That's when I started becoming a workaholic. I stopped thinking about men and just concentrated on my degree. In my senior year I took a scuba diving class. That's where I ran into Mohammed Falazzi. He was an assistant scuba instructor. I remember he came up to me and helped me suit up while I was in my bathing suit. He strapped the tanks to me and cinched them up over my bosom and said "let me teach you how to breathe." Within six months we were married. He had me so convinced he loved me and needed me. That's how he got his citizenship papers. Then he brought his parents and his brothers over from the mideast. Pretty soon he brought his long-time

. ~ 197 fiancee over, too. One day he just moved out. He told me he was divorcing me to marry his old-country girlfriend. •ralk about getting used! I wanted to kill him! But I was too broken up to do anything. All this, right after I had finally received my degree. That summer, I needed to get away and I worked up at a resort lodge in the Sierras. Then I got my first offer. The next winter I was working for Sunset Magazine. Kind of a small start, but it got me moving. I hated men by now. It took me a couple of years to get over it. Then I was offered a job writing for The

California Slam magazine ... kind of a strange publication but it was popular with radicals at the time. I took some time out to study another language at this time. over the years, at various magazines, I learned my trade better. I edited, wrote copy, interviewed. Once I was even in charge of circulati~n. I stopped falling in love. I guess I turned into what some men call a real ballbuster. I'm a bitch, too. Some guys are nice to me and I end up hurting them. I like it when a jerk tries to turn me into his "property." I show him real fast how much ownership he really has •.. none. Sometimes the whole relationship thing depressed me. I figure I have to be cold anymore, otherwise I'll get used by some sweet talker. I haven't said "I love you" since I was married. That's one phrase you can bet I'll never say again ..• or believe, when I hear it. I write poetry. I keep it in a private place. It's

198 very depressing stuff. I never show it to anyone. I get

paid to write facts, not fiction.

I crossed over from print and did television work for

the networks for a few years. It finally got to the point

where I needed a break from the journalism scene. I was at

this party in Washington, D.C. and I ran into the chief

editor for National Geographic. He was looking for someone

to do a series of articles on the Pacific Island Peoples.

It sounded like a great way to get away. I needed to leave

civilization for a while anyway. So, that's how I ended

up in the carolines.

I'm into primitive cultures now. I read books by Margaret Mead. I believe modern culture has lost

something in the transition to big civilization. I'm here because I lost something, and I'm trying to find it by

living with these people.

Oh, I forgot about the fractured jaw I had. A freak skydiving accident. And about a year after that I broke my leg in a skiing mishap. I think the fact that I nearly died a couple of times made me recognize my own mortality.

I felt compelled to reevaluate my life.

I don't know if I want any children. I'd maybe like to have a baby. But what kind of a mother would I make?

I'm almost too old as it is. If I could change my life

I'd have things like a house for me and my man. And everything would be love, happiness and truth.

A happy ending ..• right? Keep dreaming, Kettie.

199 AUTOBIOGRAPHICAL BACKSTORY Colonel Gregori Alexiev Slava

Hello. It's so nice to talk to you. My name is Colonel Gregori Alexiev Slava. But let's not be formal. You can call me Greg. Ah, such a marvelous day! If you like, you can share my mineral water. Or perhaps I can have the waiter bring you some tea? I was born in Minsk back in the Stalinist era, before the Great Patriotic War. I was raised by a watchmaker by the name of Sergei Afanasev. He worked for the government watch and clock factory in Minsk. I never knew my parents. And I hated my stepfather. He was a very mean man. I stayed out of his way. But he did provide for me as long as I did all the chores around his house. When I made a mistake, or when I stayed around when he was drunk, he would beat me with a leather razor strap of the kind barbers utilize. Very unpleasant. "Are you sorry, yet, Gregori? Good. But don't plead. Say it with conviction, or I won't believe you!" So much for my childhood. I was given no toys; just tools and things to fix or make. There was a chess set. Often, I would play against myself. If I played Afanasev, I had to be careful not to win. Otherwise, I would get the strap. One morning, when I was about 8 years old, I awoke to a great calamity. The Germans had invaded the Motherland. The Great Patriotic

War had begun. In those first days I saw bombers dropping

200

-~~~------~- ---~-- ~------~--~- --~------~~------~- bombs on the city. Boom! Boom! Like that. Our Air Force was nowhere to be seen. And there were rumors that the enemy was fast approaching the city. My stepfather and I joined the refugees and headed east along dirt roads. Ah, they were packed with so many people pushing carts and carrying bags and walking bicycles. I cannot even describe the strange feeling it was in the midst of all that, and in the middle of summer! There were some soldiers walking among us. Often, we had to walk on the sides of the road to let the soldiers and their trucks pass through. Once a

group of horse soldiers with swords and pistols trotted through us. We kept our eyes out for aircraft. One day planes suddenly came roaring down on us. Most people ran

to either side of the road. Some of them froze where they stood. My stepfather took me to an irrigation ditch amd we hid. Again, Boom! The earth shook. And airplane engines whined! There were bullets hitting the road and people were screaming. And then, an eerie silence. It was over. The sun was setting and people got back on the road. Afanasev kept me where I was and told me to wait. He went over to the road and began looting the bodies. There were pieces of arms and legs and things scattered everywhere. It was both revolting and fascinating. And then Afanasev would come to a dead body, but it would moan when he searched it. So he finished the poor soul off with a letter opener. He pushed his luck too far this time. He deserved what happened. A chekist, a KGB man, appeared

201 from behind Afanasev as he was looting a soldier's body.

"Comrade." he said, as he pointed his pistol at Afanasev.

My stepfather urinated in his pants and froze as he turned

to face the leather-jacketed agent. And then I watched

justice take place! The chekist put a bullet into each

knee, and then shot him open from his head to his crotch.

What a hero, I thought. And from that moment on I wanted

to be a KGB agent. I tried to move away in the field but

the chekist saw me and told me to halt. I did. He saw how

young I was and felt sorry for me. He picked a pocketwatch

up from the ground and gave it to me. (See here? This is

it! I still have it!) And then he waved down a truck and

we rode all the way into Smolensk! It was like a triumph!

We rode past refugees and soldiers! It was the beginning

of a bright new life.

I spent the rest of the war in Sverdlovsk, in the

heart of the Urals. That's when I joined the Comsumol,

my first step into the Communist party. I was told I had

to be a party member to achieve status in any branch of

the government. Looking back, the Communist ideals are

very important to a young person. But the older one

becomes, the more truth one finally realizes. To me, the

party apparatus turned out to be a bureaucracy as bad as

those in any capitalist nation. And during the Stalinist

era, one had to be very careful. Even now, one must be

very careful. You westerners call it "covering your ass."

In 1951 I had earned a great opportunity. At this .(

202 time the Soviet Union was rebuilding its navy and merchant

fleet. The navy needed trained men for its expansion. I

entered the Soviet Naval Academy at Leningrad; a very

cosmopolitan city compared to Minsk.

In three years, I graduated 8th in my class. Being

interested only in the KGB, I practiced my first spy

operations by procuring the answers to all the tests and

quizzes in each course I took. But since I didn't want to

arouse suspicion, I deliberately missed some answers.

Otherwise, I would have been first in my class. After

Stalin's death in 1953 I became an officer in the Soviet

Navy. My first assignment was in Naval and Maritime

intelligence and I was sent to many western countries to

learn about their ship construction techniques. Then I was

assigned the job of following NATO naval manuevers in the

North Atlantic. Here I was given spy trawler duty. I was

quite seasick those first few days. But after a while I

got my sealegs and it was no longer a problem. After

serving three years in the Navy, I had earned most

impressive credentials and the KGB accepted me into their

service without hesistation. During the late 1950's, I

went with Krushchev to England on a cruiser. I had been

instrumental in designing an underwater hatch for the

vessel so our divers could conduct spy operations under the

water. The British foolishly sent one of their own divers

to covertly inspect the bottom of Krushchev's ship. We

captured him below the hatch and interrogated him within ./

' ~ 203 the cruiser. He knew nothing important to us, so I decided

to send the British a clear message about spying on the

Soviet Union. I personally chopped off the divers' head

with a fire axe. I remember his head falling into the

firebucket which we had put beneath him. Clang! Some of

my compatriots suddenly became ill at the display. It did

not bother me at all. "I'm so sorry!" I said. I will

never forget how his eyes twitched as his head lay in the

bucket. I wonder if this was a nervous reaction or was he

actually still alive? We should perform an experiment one

day, to find out. Oh, it was so sad! Ha ha ha ha. We

weighted his body down with permeable salt bags and dumped

it out the bottom hatch as we left the harbor. I hear that

it floated to the surface three days later and caused a

real stir among British intelligence circles. I kept the

head in a pickle jar for a few days, just for amusement.

Then we dumped it overboard. Bye bye, Mr. Diver! Ha ha

ha ha! Comrade Krushchev was so impressed with my work

that I received a promotion to Major. In 1961 I was

assigned to western Europe to steal naval intelligence

documents from NATO. We had our problems, of course. In

Brest I had a fight with a double agent and took a bullet

in my shoulder. Very stupid of me. I blew a tube of

cyanide into his face but he shot me as he died. I had to

go to a safe house where one of our local doctors took care

of me. In a few days I had recovered sufficiently to

return to Moscow for rehabilitation. Later, during the

• f) 204 Cuban missile crisis, I was sent to Italy to spy on NATO naval movements. It was there that I ran into trouble with an Italian agent. I got him first, as usual, with an icepick in his stomach. But he was a tough one, and he slashed me across my ribs, right here. Oh, that hurt, but it was not fatal. When I returned home, my wife Olga asked me about it and I told her that I had fallen off a deck ladder onto some sheet metal. Of course, the 1960's were exciting. I had the job of eliminating some troublesome double agents and defectors. one was a Czech named Prado. He was confined to a wheel chair in a small villa in the Swiss Alps. I'll never forget how I pretended to be a plumber and befriended him while I was fixing some pipes. Then I rolled him over a 300 meter cliff! Oh, how he screamed. Ha ha ha ha. In late 1967 I had devised a plan to create an intelligence coup. The American spy vessel Pueblo was known to be operating close to the coast of North Korea. Moscow approved my plan and we quickly captured the ship, using North Koreans, and brought it back to port. It was a treasure trove of secret documents, almost all of which were captured intact. This was the reason for my immediate promotion to Colonel. In the early 1970's I was assigned to the Vietnam area after the end of their people's war against the capitalists. I did not care for that part of the world and requested a transfer. My superiors sent me to Angola

205 where I assisted the Marxists in the winning of their revolution. There I managed to help capture several CIA agents. The CIA is not so good at the spy business. I did not find them as difficult as the British or French. Of course we killed them. So sad.

Ah, and then there was the trouble with Solidarity in

Poland. We were told not to kill Lek Walesa while we were in Gdansk. Politically unsound. Too much trouble to deal with. The complexion of the world is changing so much now.

Spying is not what it used to be. The plastic politicians with their smiles and nice suits have made it so hard to do a good job. I was once able to kidnap people and transport them to the iron curtain with no questions asked! But not any more. So now we must use these awful Libyans to blow up discos and gun people down at airports. Amateurs! I can't stand terrorists. They are not men. It takes no courage or skill to shoot children or destroy a planeload of tourists. To be a spy you must be a hunter. And you must be very, very clever. And you must appear very average and normal so that you can be successful. If you look like a spy, or act like a spy, you will be caught.

Nevertheless, I still remained highly successful. A quality which evokes great jealousy among one's peers. I was assigned to the KGB planning office back in Moscow. It looked as though I would finally have my opportunity to move into the higher levels of the government. Colonel

Boris Kuchevno ... he's the one who did me in. What a

206 devious and methodical bastard. He discovered things about me even I didn't know. For instance, my mother had been born in Lithuania. Technically, she was not a Russian. That made me a half-Russian. It may not seem like much to those outside the Soviet Union, but the key party and government positions are filled by a clique of White

Russians. They are concerned about their superiority over the other Soviet minorities. My heritage, you see, makes me a threat to the "pure" Russians. Of course there is no difference to me. Who cares where my mother came from?

"I am a loyal party member," I told them. But no luck with these fellows. Kuchevno climbed to the top and I was relegated to the subsidiary role of Pacific Opeations Chief. So much for becoming one of the big boys! Perhaps

I will be able to turn the tables some day. Maybe a bomb in the politburo? Ha ha ha ha. Just wait, comrade

Kuchevno. I will get you yet.

The one thing I enjoy about the west is your money.

You can do so much if you have money. I hope one day to live in the Bahamas and have a credit card, just like rich capitalists. Oh, by the way, my friend, I know you would like to hear more. But you see, I'm really here to kill you. The tea you are drinking has been poisoned.

I'm so sorry.

Ha ha ha ha!

207 APPENDIX E

The Script for the Screenplay

"THE WRECK OF THE ADMIRAL NAKHIMOV"

208 THE WRECK OF THE ADMIRAL NAKHIMOV

1. EXT. MOSCOW - LOW ANGLE ON THE KREMLIN - NIGHT Four Soviet Army guards step precisely in unison, rifles slung over their shoulders. The full moon in the sky makes the guards cast long, exaggerated shadows. 2. INT. POLITBURO - OFFICE OF THE FIFTH DIRECTORATE We see a dimly lit but opulently decorated wall. A dramatic painting of Lenin commands the scene, balanced by a huge hammer and sickle emblem. Camera TILTS DOWN to reveal the KGB DIRECTOR backlighted by a furniture lamp as he sits at his desk and reads a newspaper, pages outstretched. The door creaks open, flooding a rectangle of light onto the Director. we see the shadow of a man in the rectangle. The Director does not take his attention away from the newspaper. The door shuts. The light and shadow disappear. We hear footsteps cross the room, and stop. Then we hear the creak of someone sitting down on a chair. DIRECTOR Good evening, Colonel Slava. SLAVA'S VOICE ... comrade Director. DIRECTOR You're a patriotic KGB chief. I thought you would like an opportunity to move up in the party ... seeing you're Ukranian, not Russian. SLAVA'S VOICE What do you want? DIRECTOR A man has smuggled a diary out of the Rodina. It's of great value to us ... SLAVA'S VOICE The Wreck of the Admiral Nakhimov. The man's name is Krivda. I have agents looking for him. DIRECTOR You know so much. Good. Find Krivda. Get the diary. Kill him. Do whatever you like ... but get the diary.

·/

209 SLAVA'S VOICE Yes.

We hear Slava rise and cross to the door. The door opens as the Director raises his newspaper and covers his face as he starts reading a new page. A rectangle of light hits the wall and we see Slava's shadow in it. We see the Director's dark outline in the newspaper he holds. DIRECTOR Comrade Slava ... Slava's shadow stops movement.

(MORE) Succeed. The door closes.

The camera TILTS UP to the hammer and sickle.

DISSOLVE TO: 3. EXT. SOMEWHERE IN THE SOUTH PACIFIC - MORNING MS of a rubber hammer raised in midair.

4. EXT. BRIDGE OF LCM (AN OLD LANDING CRAFT)

RICK HOGAN, a dirty, bearded, slovenly dressed man in his late thirties, holds the hammer and brings it down on a ghetto blaster with a THUMP. The radio crackles to life. RADIO ... with storm warnings predicted for tomorrow night. This is radio Guam with information and music for Micronesia and the u.s. Pacific Trust territories. 5. EXT. LCM

We see that Rick is piloting a real rustbucket through the placid Pacific. On the ship's side we see the faded words HOGAN'S INTER-ISLAND EXPRESS. The song Baby I Need Your Loving, by the Four Tops, takes command of the sound track.

We see titles roll by as the ship plods through the sea. ·/

. ;) 210 6. ANOTHER ANGLE Rick puts on his sunglasses and moans. He uncorks a bottle of Jim Beam and takes a big swig. He coughs and shakes his head .•• then belches deeply. 7. ANOTHER ANGLE A mongrel dog, Grog, climbs out of the ladder in the deck hatch, carrying a can of beer in his mouth. Grog approaches Rick, sits down and wags his tail. Rick takes the can of beer, opens it and pours the beer into Grog's dog dish. HOGAN Okay, Grog. Speak!

GROG Arf! Grog, as hung over as Rick is, staggers over to the bowl and begins lapping up the beer. Rick crosses to the wheel. 8. ANOTHER ANGLE We see the bow of the LCM closing in on a palm-speckled island. 9. HOGAN'S POV

Hogan watches the island and throttles down the engines as the LCM nears the island's wooden pier. He hits the horn button and the horn blares away. 10. EXT. LCM - ANGLE LOOKING DOWN FROM HOGAN TO DOCKSIDE An old native polynesian, POP, hobbles down the pier towards HOGAN as Rick brings the ship to a halt. The music ends. Rick turns off the radio. POP Hey, Hogan. Did you bring my copy of Penthouse? Hogan passes Pop a hawser and Pop ties it to a ring on the dock. HOGAN Sure, Pop. POP You didn't wear it out, did you?

' ~ 211 Hogan lowers a ladder and descends it to the dock. Grog follows. He hands Pop the magazine.

HOGAN Nah, I didn't touch it. Those things make me think too much.

11. EXT. ISLAND - ANGLE ON THE BEACH

We see bubbles appear in the water by the beach. We see KETTlE BOYD, a plain but attractive blonde, rise out of the water wearing a French cut swimsuit and scuba gear.

CUT TO:

12. EXT. DOCK - CLOSEUP OF RICK

Hogan notices Kettie and stares.

CUT TO:

13. EXT. BEACH

We see Kettie from behind as she steps onto the dry beach. She drops her scuba tank and gear. Her swimsuit is hiked up her waist, exposing most of her behind. As if by sixth sense, she turns her head around and glares at Hogan.

14. EXT. DOCK - HOGAN

Hogan raises his eyebrows in approval and smiles.

15. EXT. BEACH - KETTlE

Kettie frowns, self consciously pulls her swimsuit down over her behind and marches off with her equipment.

16. EXT. DOCK - TWO SHOT Pop and Hogan walk up the dock to the village. Camera DOLLIES in reverse, staying in front of them.

POP That's one strange woman.

HOGAN Nothing strange about her looks.

POP She's a rich girl. Bold as brass. Trouble.

HOGAN They're all trouble.

212 POP Would you like some breakfast? I'll introduce you.

HOGAN You know, you're one hospitable guy. Camera SLOWS TO A STOP as they pass, and pans over to Grog, wagging his tail as he lifts his leg to a palm tree.

WIPE TO:

17. INT. VILLAGE SHACK - MORNING CLOSEUP of POP pouring a pitcher of orange juice into a glass. Camera DOLLIES BACK to a wider shot. We see a ceiling fan rotating over the table at which Pop, Kettie and Rick are eating breakfast.

HOGAN Mmmm. This is good food. Makes a man want to eat more.

CUT TO: 18. CLOSEUP OF KETTIE

KETTIE looks up from her plate at Hogan with an offended and contemptuous look.

KETTIE Watch it, Buster. CUT TO: 19. ANOTHER ANGLE HOGAN (mystified) Did I say something? KETTIE I think you're crude. You also smell. HOGAN ... Hogan. You also smell, Hogan. I have a name. Do you? KETTIE Boyd. Kettie Boyd.

213 CUT TO: 20. POP'S REACTION - CLOSEUP ON HIS FACE

He's staying out of this one.

CUT TO: 21. ANOTHER ANGLE

HOGAN I hear you're a journalist ... (glances at her ring) ... Mrs. Boyd.

KETTIE Miss Boyd. I'm on assignment for the National Geographic. You know, an article about native islanders and tropical fish.

HOGAN You seem ... thrilled.

KETTIE (a weak, momentary smile) And what are you doing in these parts, Mr. Hogan?

HOGAN I'm eating breakfast with a pretty woman.

KETTIE (pause, fleeting wariness) You're so versatile ... a bum and a charmer.

HOGAN (glances down at her feet) A bum? At least I'm wearing shoes.

KETTIE (self conscious, embarassed) Uh .•. that happens sometimes. I forget where I put things. I have a right brain ... a photographic memory. Sometimes my left brain doesn't pay attention .•. and I forget things or make mistakes.

POP (winks at Rick) I've heard of that! (Pop eats another spoonful)

214 KETTIE Are you staying long, Mr. Hogan?

RICK Until tomorrow morning. I have a route between all the islands that don't have airstrips. I carry the mail, make pickups and deliveries. The government pays for my fuel. And I own my own ship.

POP Not a bad deal.

KETTIE (crinkling her nose) And that's all you do?

RICK Isn't that enough?

KETTIE It seems to me a person should have some ambition other than ...

RICK Oh, go ahead and say it, Miss. It's called drifting and drinking. I guess it's easy to look at another person's feet of clay when you haven't worn his shoes. (he belches suddenly) (MORE) Excuse me. That was a good one, wasn't it?

KETTIE (displeased) Have you ever learned table manners?

RICK Nah, my old man didn't have time for that. Always down at the race tracks betting on horses. No wonder my mom left him.

KETTIE (interested) You come from a broken home? So do I.

RICK No kidding?

KETTIE My father raised me, sort of. He put me in European boarding schools. ·/

215 RICK That's expensive. How did he wangle that? KETTIE He's uh ... connected, sort of.

RICK What does he do? KETTIE He's a businessman. POP I wish I was a businessman. I'd buy a bunch of hotels and date Elizabeth Taylor. RICK (spears an egg with his fork and holds it sunny side up) Keep dreaming, Pop.

CUT TO: 22. EXT. ISLAND BEACH - SUNSET The yellow sun goes down over the horizon. A glow lights the sky. Kettie drags two scuba tanks along the beach. Rick approaches and helps her. camera FOLLOWS as they walk.

HOGAN (taking a tank) Here .••

KETTIE Thank you, I can do it myself. I don't need you. HOGAN I'll take them back to my boat and recharge them. It's no trouble. KETTIE Thanks, but I have my own compressor. HOGAN You're really scared I'm going to do you a favor. KETTIE I want to keep things even. I don't believe in debts. ·/ . ,, 216 HOGAN Don't you trust anybody? KETTIE What do you want from me? HOGAN A smile? (he winks) Kettie stares silently with an expressionless face. Hogan exits toward the pier. A few villagers walk about in the background. Kettie sets her tanks down and pauses as she turns her head back at the retreating Rick. She regains her senses, turns and walks headfirst into a tree. DISSOLVE TO: 23. EXT. PACIFIC OCEAN - NIGHT We hear strains of ominous, Prokofiev-style music in the soundtrack. The rumble of ship engines joins the music. AERIAL SHOT of a large, black merchant vessel. As the camera CLOSES on the vessel, we make out the outline of a radio and antenna mast with squat radar dishes slowly, deliberately revolving. Camera shows us the vessel's stern, churning up a frothing wake. We see a SOVIET flag waving from the sternpost. The letters c.c.c.P and POTEMKIN figure prominently on the stern. DISSOLVE TO:

24. INT. POTEMKIN - MAIN PASSAGEWAY Camera DOLLIES down a dimly lighted passageway. The overhead fixtures cast weird pools of light and shadow down the length of the corridor. Camera SLOWS to a stop as a cabin door opens. Sailor 1, wearing a black sock hat peers around the edge of the door. His eyes scan right and left. The passageway is empty. He steps into the passageway, duffel bag in hand. Camera follows him from behind. He ambles towards a ladder, glancing back as he warily climbs the metal staircase to the upper deck.

CUT TO: 25. EXT. MAIN DECK - NIGHT The sailor pokes his head up through the main hatchway. He quickly scans the area and rapidly moves astern. Camera PANS and stops on another sailor lurking in the the shadows. ·/

. ~ 217 CUT TO: 26. CU - SAILOR 2'S FACE

He's oriental and watches SAILOR 1 as he passes by. CUT TO: 27. EXT. MAIN DECK -AT THE STERN - NIGHT

SAILOR 1 stops at the rail and crouches down. A guard on watch descends a bridge ladder to the main deck and passes by Sailor 2 in the dark, turning a corner and disappearing towards the other side of the bridge. CUT TO: 28. ANOTHER ANGLE

SAILOR 1 opens his duffel bag and extracts a life­ jacket, then a diary wrapped in a plastic, zip-lock type bag. He stuffs the diary in the inside breast pocket of his coat and quickly dons his life-jacket. He turns toward the railing. CUT TO: 29. WHAT HE SEES In the distance we see a small tropical island. CUT TO:

30. ANOTHER ANGLE

SAILOR 1 climbs the railing. CUT TO:

31. ANOTHER ANGLE

SAILOR 2 silently approaches SAILOR 1 from behind. He moves with the great stealth of a pro. Quickly, he produces a switchblade in one hand and flips the switch. Instead of a blade flipping out with a loud click, this blade slowly rises out of the handle and locks without any noise. We realize SAILOR 2 is no ordinary hoodlum. Suddenly, VASILI TITOV, looms into view from a bridge hatch. TITOV'S back is to SAILOR 2, since it's clear he's after SAILOR 1, so he doesn't see SAILOR 2. SAILOR 2 freezes. Titov points a pistol at SAILOR 1.

. " 218 TITOV (calm) Comrade Krivda ... come down.

CUT TO: 32. ANOTHER ANGLE

Krivda freezes on the rail and turns back towards Titov, now seeing both Titov and Sailor 2 behind the gunman.

CUT TO: 33. ANOTHER ANGLE

TITOV (outstretches an open hand) The book ..•

CUT TO: 34. ANOTHER ANGLE

Krivda begins to reach into his inside breast coat pocket.

CUT TO: 35. ANOTHER ANGLE

Sailor 2 can't decide what to do. His eyes dart back and forth between Sailor 1 and Titov as he raises his knife for throwing.

CUT TO: 36. ANOTHER ANGLE

Krivda, motionless, nervously glances at Sailor 2.

CUT TO:

37. ANOTHER ANGLE

Titov quickly turns his head toward Sailor 2. CUT TO:

38. ANOTHER ANGLE

Surprised, Titov wheels around to fire at Sailor 2.

CUT TO:

219 39. ANOTHER ANGLE Sailor 2 throws his knife at Titov.

CUT TO: 40. ANOTHER ANGLE

The knife hits Titov squarely in the chest. Titov groans.

TITOV Shit ...

CUT TO: 41. ANOTHER ANGLE

Krivda, recoiling with fright, climbs the rail for his jump to freedom as Titov crumples to the deck.

CUT TO: 42. ANOTHER ANGLE

Sailor 2 realizes he can't catch Krivda. He's blown it.

CUT TO: 43. ANOTHER ANGLE

With his last ounce of life, Titov raises his gun at Krivda. With his last breath, in excruciating pain, his shaking finger pulls the trigger. The gun FIRES once. CUT TO: 44. ANOTHER ANGLE

Krivda's throat is hit by the shot, and his head lurches backwards as he weakly grabs his bloody neck. He falls backwards over the rail. CUT TO: 45. HIGH ANGLE ON KRIVDA - LOOKING STRAIGHT DOWN OVER THE RAIL TOWARDS THE SEA. Krivda, dead, arms and legs dangling like a rag doll, falls back first into the ship's foamy bow wave with a splash!

CUT TO:

220 46. ANOTHER ANGLE Sailor 2 mutters a Japanese curse word and races down a dark hatchway as we hear the sound of multiple footsteps. CUT TO:

47. ANOTHER ANGLE A guard and two sailors rush into view around Titov's body. One man reaches down and picks up the duffel bag with Krivda's name on it. There is hurried chatter in Russian. camera TRACKS with the guard as he rushes to an alarm button. Camera DOLLIES in tight on his hand and follows it to the alarm button. It presses the button. CUT TO:

48. CU - ALARM BELL The hammer on the bell housing activates and we hear loud, sharp stocatto ringing. CUT TO: 49. INT. RICK'S LCM - RICK'S CABIN - DAWN Rick's alarm clock buzzes madly. Camera DOLLIES back to show Rick's hand reaching for the clock and turning off the button. Rick, dressed in tank top and boxer shorts, rises to his feet. He looks down. CUT TO: 50. WHAT HE SEES - AT THE BOTTOM OF THE DOORWAY Grog, wagging his tail, sits in the doorway with a can of beer in his mouth. CUT TO: 51. INT. LCM PASSAGEWAY Rick shuffles past a rifle, some TNT, a shotgun, a pistol, some drums of oil and a stack of float nets. CUT TO: 52. EXT. LCM - BRIDGE Rick hits the starter and the LCM's diesels fire up.

221 CUT TO:

53. EXT. PIER AND LCM

Pop comes hobbling down the pier as Rick descends the gangplank and unties the hawsers from the dock.

HOGAN You're up early.

POP Ain't got much else to do. You're a good guy, Hogan. You may not be perfect, but you always think about people.

HOGAN I think she's mad at me.

POP (chuckles) A woman makes up in anger, what she wants in her heart.

CUT TO:

54. ANOTHER ANGLE

HOGAN That's deep .•. I don't know what it means ... but it's deep.

Rick climbs the gangplank and pulls it up onto the LCM'S deck.

POP (waving) See you in two weeks!

Hogan takes the wheel and waves.

HOGAN I'll bring you some more magazines!

The LCM pulls away from the dock.

POP I just ordered a VCR from the states. Bring me a video tape!

RICK Which one?

·/ 222 POP Debbie Does Dallas!

CUT TO: 55. EXT. LAGOON AND REEF The LCM picks up speed and heads out to sea. CUT TO: 56. EXT. CLOUDY SKY - 20,000 FEET Ominous Prokofiev-style Music controls the soundtrack as a Soviet Beriev jet flying boat streaks over the tops of storm clouds. We see a red star on its tail. As it passes, we see the dark outline of a man in one of the windows. Camera follows the aircraft as it roars toward the rising sun. DISSOLVE TO: 57. EXT. ISLAND - THE BEACH- MORNING Rettie, in her swimsuit, is on the beach. The day is bright and sunny, but windy. She picks up her scuba tanks, regulator and camera as she prepares for a dive. She looks up, while checking her regulator and then does a double take. Something on the beach attracts her attention. She drops her gear and begins walking.

CUT TO: 58. ANOTHER ANGLE Krivda's body lies face down on the beach, awash in the surf. Rettie approaches slowly and turns Krivda over. She checks for a pulse and draws her hand back when she feels the cold skin. CUT TO: 59. EXT. OCEAN - LATE MORNING More Prokofiev-style electronic music sets the tone in the soundtrack. camera PANS across rolling seas as dark, heavy clouds rumble across the horizon. We see the URS POTEMKIN churning through the ocean, as if searching. Then, a pair of high speed skiffs dart across the screen as they criss-cross the waves. Camera finishes PAN as a large Soviet spy trawler, radars turning and electronic mast arching upward like a dark ·/ castle, looms into foreground view.

• t)

223 Sailors on her deck scan the surrounding waves through binoculars. As her stern passes the camera, we see the words C.C.C.P. and NEVSKY overshadowed by a Soviet flag.

CUT TO: 60. INT. NEVSKY'S BRIDGE - THE WHEELHOUSE The portside wheelhouse door opens and a man enters, closing the door behind him. In the shadowy bridge interior, we can make out the man's overcoat, captain's epaulets and worried face. We hear the wind whipping the waves.

SLAVA'S VOICE Good morning, Captain.

TROT SENKO (nervously rubbing his fingertips together) Sir.

SLAVA'S VOICE Your report. TROT SENKO We searched all night for the missing sailor. One lifejacket is gone. The current could have taken him anywhere. CUT TO: 61. ANOTHER ANGLE - ON SLAVA

Slava sits in a chair, backlighted by sunlight angling down through a bridge window. Storm clouds roll behind the window frame in back of Slava. We see only his silhouette and none of his features. SLAVA (pause, silence) ... Krivda's blood was on your ship's railing. CUT TO: 62. ANOTHER ANGLE - ON TROTSENKO

TROT SENKO (nervous) He must be dead. We will find his body. / CUT TO:

• 0

224 63. ANOTHER ANGLE - ON SLAVA SLAV A Yes, I know. And one of my men has a knife in him, Ensign Trotsenko.

CUT TO: 64. ANOTHER ANGLE Trotsenko nods submissively, his eyes toward the floor. He knows he dare not protest. He turns, opens the door, and exits the wheelhouse. CUT TO: 65. ANOTHER ANGLE - ON SLAVA

SLAVA They say the tropics are paradise, Misha. (He wipes his neck with a handkerchief) I don't like paradise. It disturbs me. Misha, a tough but average-looking man, looms out of the shadows and smiles a twisted smile at Slava.

CUT TO: 66. EXT. ISLAND HUT - AFTERNOON The wind rustles through the palms and spins the squeaking wheel of a rusted, overturned bicycle. CUT TO: 67. INT. HUT We see the interior of Pop's radio shack. Pop finishes draping Krivda's body with a sheet. The body rests on top of a work bench. Kettie examines the wallet and the diary. POP Bullet wound. I saw a lot of them during the war. KETTIE (looking in wallet) This I.D. is definitely Russian. Look, CCCP .

. ~

225 POP He's a long way from home. What's that book? KETTIE (opening it) I don't know. It's written in Cyrillic. You don't read Russian, do you? POP (thinking) I know a few words ... Kamchatka ... Stolichnaya ... vodka ... dahhhhhh! KETTIE Shouldn't we call somebody? POP (crossing to ham radio) Hell, yes. Otherwise this fellow will stink up the whole village! CUT TO:

68. ANOTHER ANGLE Pop turns on the radio switch. He turns the frequency dial. POP Let's see. (picks up the mic and depresses the button) Hello, Hogan. This is K-C-6 triple x, over. RADIO VOICE K-C-6 triple x, this is Hogan. I read you five by five. CUT TO: 69. INT. NEVSKY - COMMUNICATIONS CENTER We see the dark interior of the Nevsky's sophisticated communications center. The center is painted with the glow of radar screens, glowing equipment lights, meters, luminescent buttons, computer screens and dim overhead lights. We see a RADAR OPERATOR, Two RADIOMEN and a computer technician. RADIOMAN 1 listens on a headset. He suddenly perks up and taps RADIOMAN 2 on the shoulder. RADIOMAN 1 Get a fix on this signal!

226 Radioman 2 flips some switches on his console. His computer screen lights up with a graphic image of the Nevsky's patrol area. We see a flashing trawler symbol representing the Nevsky. A red line connects from the flashing trawler to an island. RADIOMAN 2 I have it. Coordinates are saved. We hear a metal door open and close. Slava's shadow appears on the bulkhead. His backside looms into view as he reaches the Radio section.

RADIOMAN 1 The body! It's on Huston's Island. SLAV A Good. Give the coordinates to the navigator. Recall the skiffs. Send the Potemkin back to her normal duties. Inform our combat team to prepare for a "wet" operation. RADIOMAN 1 Yes, sir. SLAVA When is the next satellite pass? RADIOMAN 2 Twenty five minutes. SLAVA I want photos and radar graphs. CUT TO: 70. INT. HUT - THE ISLAND Pop is still on the radio. RADIO VIOCE Okay, Pop. I'll turn back for the body and take it to Ponape. POP Thanks, Hogan. out. Pop crosses to an old 500 lb. bomb. He turns its nose whisker, opens the nose and puts the diary and wallet within. He closes the bomb nose.

227 POP My special safe. Well now, looks like you'll get to see your boyfriend again. KETTlE I can hardly wait. The man's such a catch. CUT TO: 71. ANOTHER ANGLE Misha enters and crosses to Slava. SLAV A When we begin the operation, you will jam their radio channels. RADIOMAN 2 Yes, sir.

MISHA Intelligence reports there are 23 people on the island. SLAVA Not for long. Misha nods and smiles. CUT TO: 72. EXT. NEVSKY - LOWERING SKY The two skiffs follow the Nevsky as it turns south. CUT TO: 73. EXT. ISLAND - THE BEACH Kettie, wearing her scuba outfit, leaves one of her air tanks on the beach. She wades into the lagoon as the wind picks up. We see approaching clouds which begin to darken the landscape. CUT TO:

74. ANOTHER ANGLE Pop hobbles down the beach, waving at Kettie. Kettie stops her dive, and removes her mouthpiece.

POP Hey!

228 75. ANOTHER ANGLE KETTIE What's wrong?

POP Can't you see there's a storm heading this way? KETTIE Uh huh. POP Then get out of that water! KETTIE I'll be back before it hits. POP I don't want you getting hurt. KETTIE (waves her camera) I'm gunning for a pulitzer prize. Wish me luck! Kettie dives underwater. Pop shakes his head in dismay. POP (looking at the sky) Feels bad ... Pop hobbles back toward the village as the wind gusts. CUT TO: 76. ANOTHER ANGLE Camera PANS to follow a native boy. He climbs up a palm tree to pick coconuts. CUT TO: 77. EXT. UNDERWATER- THE LAGOON Kettie slowly begins her descent through the coral encrusted bottom of the lagoon. About 30 feet down, she hears something. We hear the whirring sound of high speed propeller blades. Kettie stops her dive and cranes her neck upwards. Kettie watches the bottoms of two skiffs streak toward beach. ·/

229 CUT TO: 78. EXT. BEACH - NOW SUNSET

The two skiffs motor up onto the beach and land. Five COMMANDOS jump out of the skiffs. They wear camouflaged jungle fatigues and green running shoes. Misha and 3 commandos carry silenced machine pistols. Slava holds a silenced automatic pistol. CUT TO: 79. ANOTHER ANGLE A coconut drops at the feet of the Commandos. They simultaneously look skyward. CUT TO: 80. ANOTHER ANGLE The boy in the palm tree looks down at the Commandos. CUT TO:

81. ANOTHER ANGLE Slava raises his pistol and fires one shot. CUT TO: 82. ANOTHER ANGLE The boy falls from the tree and hits the ground with a dull thump. SLAVA I'm so sorry. CUT TO: 83. ANOTHER ANGLE CAMERA TRUCKS with Commandos as they dash through the jungle and arrive at the village. Slava signals and the group stops at the edge of the village clearing. CUT TO:

84. ANOTHER ANGLE We see villagers walking around the huts, going through their usual evening routines. ·/ . ,, 230 CUT TO: 85. ANOTHER ANGLE

Slava motions Commando 1 to head around and attack from one side. Then he motions commando 2 to go around the other side. The two commandos split off and disappear into the jungle. SLAVA Now.

CUT TO: 86. EXT. VILLAGE Slava, Misha and Commando 3 dash into the village and surprise the natives. A few horrified natives rise to their feet. CUT TO: 87. CU- MACHINE PISTOL We see Commando 3's hands holding his machine pistol at his waist. The gun fires with a muffled chatter as it sweeps from one side to the other. CUT TO: 88. ANOTHER ANGLE

The Commandos rush past a pile of dead islanders. CUT TO:

89. ANOTHER ANGLE A terrified woman leaps out of her hut and runs down a trail. CUT TO:

90. MS - COMMANDO 1 AND MACHINE PISTOL He aims and fires a short burst into the woman's back. She spins violently and slams dead into the dirt. CUT TO:

/

• tJ 231 91. ANOTHER ANGLE

A family of five tries to make a run for it. Misha cuts them down with his machine pistol.

CUT TO: 92. ANOTHER ANGLE An old man and an old woman stand in the doorway to their hut. They hold each other more tightly.

CUT TO: 93. ANOTHER ANGLE Slava raises his pistol and fires twice.

CUT TO: 94. ANOTHER ANGLE A small girl crawls out from under her hut, across some open sand and climbs inside an old, rusty, water conduit pipe. Commando 2 rushes to the edge of the pipe. He whistles to Slava.

CUT TO: 95. ANOTHER ANGLE

Slava takes notice. CUT TO: 96. ANOTHER ANGLE Commando 2 points to the pipe and then lowers one hand low to signify there's a child inside the pipe. CUT TO: 97. ANOTHER ANGLE Slava nods to Commando 2. CUT TO:

98. ANOTHER ANGLE Reluctantly, after some hesistation, Commando 2 points his gun into the pipe and sprays the dark interior with bullets. ,,

232 CUT TO: 99. ANOTHER ANGLE

The five Commandos gather.

COMMANDO 1 Five.

COMMANDO 2 Nine.

COMMANDO 3 Four.

MISHA Two.

SLAVA And mine make 22. Where is the other?

The commandos scan the area. CUT TO:

100. ANOTHER ANGLE

Pop appears from the background. His face mirroring anger and pain as he approaches the Commandos.

POP What kind of men are you?

CUT TO:

101. ANOTHER ANGLE

The five commandos turn and face Pop. CUT TO:

102. ANOTHER ANGLE POP Men don't need guns. CUT TO:

103. MS TO CU - SLAVA camera DOLLIES IN to Slava as he raises his pistol. CUT TO:

233 104. CU - POP'S EXPRESSION

He faces death unafraid and spits defiantly.

CUT TO:

105. CU - SLAVA'S SHOES

The spit hits Slava's shoes.

CUT TO:

106. CU SLAVA'S PISTOL

Slava fires once.

SLAVA Very brave •..

CUT TO:

107. ANOTHER ANGLE

Slava wipes his shoes on Pop's body.

SLAVA •.. very dead.

CUT TO:

108. ANOTHER ANGLE

MISHA The diary.

SLAVA Take this place apart. Hurry.

CUT TO:

109. EXT. LAGOON

Bubbles rise to the surface in the middle of the lagoon. Kettie's pops to the surface and pulls off her goggles and mouthpiece. She squints at the beach.

CUT TO:

110. KETTlE'S POV - THE BEACH

Camera PANS in a slow, unsettling way. It momentarily stops on the two skiffs. Then, it PANS again, this time stopping on the body of the dead boy.

234 CUT TO: 111. CU - KETTIE Her shocked reaction. CUT TO: 112. EXT. VILLAGE The Commandos ransack the village. CUT TO: 113. INT. HUT Slava helps tear the furniture apart. Misha examines Krivda's body. MISHA No diary. SLAVA cut him open from throat to crotch. Make sure he didn't swallow anything. CUT TO: 114. ANOTHER ANGLE Slava kicks over the 500 lb. bomb. It clanks on the wood floor. He examines it to see if it opens in some way. It doesn't. He taps it with his pistol but the sound does not betray its contents. Slava looks into the bomb's tail but can see nothing. He rises and walks away. CUT TO: 115. EXT. LAGOON Kettie watches as flames light up the evening sky in the direction of the village. She puts on her regulator and dives. CUT TO: 116. EXT. VILLAGE The village huts burn furiously, backlighting the Commandos and casting weird shadows and light patterns on their faces. /

235 MISHA No diary. Slava extracts a package from his coat and extracts a bunch of Thai sticks. He scatters them around the area. SLAVA Let's move.

CUT TO: 117. EXT. ISLAND - A COVE ON THE OTHER SIDE Kettie surfaces and climbs a coral outcropping up to the jungle. CUT TO: 118. EXT. ISLAND - THE BEACH The Commandos climb into their skiffs and start their engines with a roar. They back out into the lagoon and turn seaward.

CUT TO: 119. INT. SKIFF Slava extracts a starlight scope from the boot of the skiff and scans the area. CUT TO:

120. POV - SLAVA - THROUGH THE STARLIGHT SCOPE Camera PANS as we see the beach through a sickly green hue. Camera almost passes up Kettie's scuba tank, and pans back to it. CUT TO:

121. MS - SLAVA Slava winces and lowers his scope. SLAVA There's a scuba tank on the beach. MISHA Another person?

·I . " 236 COMMANDO 1 (pointing) A ship!

SLAVA (raising his scope again) Damn. CUT TO:

122. POV - STARLIGHT SCOPE

Camera SWISHPANS and stops on Hogan's approaching LCM. camera SWISHPANS back to the beach, showing the scuba tank. CUT TO:

123. MS - SLAVA He lowers the scope, frustrated. His lips tighten.

SLAVA Away!

CUT TO:

124. ANOTHER ANGLE

The skiffs roar to full power and streak out of the lagoon toward the open sea.

CUT TO:

125. POV - HOGAN - THROUGH BINOCULARS

We see a pillar of fire in the center of the island. CUT TO:

126. INT. LCM - BRIDGE

HOGAN What the hell?

Hogan flips a switch on his tranceiver and picks up the mic.

HOGAN This is K-C-6-L-S, come in Ponape.

The only response Hogan gets is a loud hum. ·(

' tJ 237 HOGAN Ponape, come in ..•

Again, all he hears is a hum. Rick looks worried. He adjusts the wheel.

CUT TO: 127. EXT. ISLAND - NEAR THE VILLAGE - TRACKING SHOT

Rick makes his way slowly through the jungle. He carries a pump shotgun. He arrives at the edge of the village. Camera follows as he walks into the open and inspects the bodies. He finds Pop and kneels beside the body. HOGAN Ah, Pop. You didn't deserve this. Hogan extracts a handkerchief from his pocket and gently drapes it over Pop's face.

KETTlE'S VOICE Hogan ..• CUT TO: 128. ANOTHER ANGLE Rick looks up. We see Kettie step out of the brush. She's visibly shaken, an unusual state for this woman. HOGAN I'm glad you're all right. KETTlE I was diving. I saw two boats land. (she hands Hogan the wallet and the diary) They must have wanted this. It's Russian. Hogan scoops up some spent cartridges and puts them in his pocket. He examines a Thai stick. HOGAN Thai sticks. Haven't seen these since Nam. Must've wanted it to look like drug runners.

KETTlE We better radio for help.

• d 238 HOGAN (worried) I tried. The airwaves are full of garbage. KETTIE Let's get out of here before they come back. HOGAN (hands her the shotgun) I want to bury Pop. Then we'll go. Hogan begins digging a shallow grave in the sand with his bare hands. Kettie watches for a moment, puts down the shotgun and helps him dig.

DISSOLVE TO: 129. EXT. OCEAN - NIGHT

The LCM rumbles through the choppy sea. Winds start to whip the waves. A storm brews.

CUT TO: 130. INT. LCM BRIDGE

Hogan takes a swig of whiskey at the wheel. Kettie casts a disapproving look at the bottle.

HOGAN You're lucky, Miss. KETTIE Why don't you try the radio, again? HOGAN Because those badasses are jamming. Whoever they are, they're good. KETTIE Russians? CUT TO:

131. ANOTHER ANGLE HOGAN Their trawlers fish around here.

KETTIE (points to Rick's radar scope) Is this your Radar?

239 HOGAN A short range set. Nothing on it though. KETTIE If you have a radar, don't you think they have one? A better one? HOGAN You bet. And there's not a damn thing we can do about it if they're tracking us. CUT TO: 132. INT. NEVSKY COMMUNICATIONS CENTER We hear busy action theme music on the soundtrack as the communications center bustles with activity. We see Colonel Slava, his back to the camera, standing behind the radar operator, watching the radar screen sweep round and round. Camera DOLLIES IN to give us our first good look at Slava. It circles him from back to front, revealing a rather normal-looking man in his late-thirties or early forties. The rotating radar screen reflects in both lenses of his glasses, masking his eyes and making him appear robot-like and detached from humanity. He removes his glasses in the weird glow and rubs his eyes. He replaces his glasses. SLAVA Distance to the target? RADAR OPERATOR Seven miles. SLAVA Good. Their heading? CUT TO:

240 133. ANOTHER ANGLE MS of RADAR OPERATOR. RADAR OPERATOR North Northeast ••. toward Ponape. CUT TO: 134. INT. LCM - BRIDGE Kettie loads shotgun shells into the pump shotgun and places it in one corner of the bridge. KETTIE What do we do if they board us? HOGAN (steering, adjusting course) one thing at a time. KETTlE We have to have a plan.

HOGAN We'll fight. KETTIE With a shotgun? That's really going to stop them.

HOGAN (glancing at radar screen) They're coming up from astern. KETTIE Can't we go faster? HOGAN This old sweetheart does 12 knots. A Russian trawler makes 20. Take the wheel. Kettie crosses to the wheel and takes it. Hogan descends the ladder to the lower hold. CUT TO: 135. INT. LCM HOLD Hogan stops in the hold passageway and thinks. He scans the hold for a moment, then crosses to his tool box. CUT TO:

241 136. ANOTHER ANGLE Hogan opens the tool box and extracts a knife and a roll of duct tape. He crosses to a heap of junk and rummages through it. He yanks a pair of cardboard boxes out of the heap and takes them down the passageway. CAMERA FOLLOWS as Hogan scurries toward the forward part of the hold. He finds a stack of nylon fishing nets with floats on the edges. He whips out the knife and starts cutting a float off the net.

CUT TO: 137. INT. NEVSKY - BRIDGE Slava lifts his starlight scope to his eyes as he looks through the pilothouse window. CUT TO: 138. POV SLAVA - THROUGH STARLIGHT SCOPE Through a green hue, we see the horizon and the distant stern of the LCM. CUT TO:

139. INT. NEVSKY - BRIDGE Misha and the 3 Commandos enter through the bridge door. commandos 2 and 3 carry AK-47 automatic assault rifles. commando 1 holds an RPG with a backpack full of reload rockets.

140. ANOTHER ANGLE SLAVA (addressing Commando 1) Wait until we get close. Aim for the stern, at the waterline. I want to disable the engines without a fire. The rest of you ... concentrate on the superstructure. CUT TO:

141. INT. LCM - BRIDGE Kettie steers as Rick, rifle slung over his shoulder, climbs up the ladder with two cardboard boxes of TNT in his hands. He sets the TNT down on the deck, next to 2 boxes full of floats. ·/

242 KETTIE What are you doing?

HOGAN No matter what happens, keep our stern to them. don't let them get ahead or alongside. Here. (he tosses her a pistol) Know how to use it? (Kettie nods) Then take the safety off. (she does)

Hogan kneels beside the TNT and removes several clutches of TNT.

KETTIE (looking down) You're not going to throw that at them? They'll shoot you before you get close enough.

HOGAN Who do you think I am, Kirk Douglas?

Hogan takes a clutch of TNT sticks and tapes them to a float with his duct tape.

KETTIE (watching radar screen) Hurry!

CUT TO: 142. ANOTHER ANGLE

Hogan tapes another clutch of TNT to another float.

HOGAN It's a million to one, but maybe they'll run into one of these.

KETTIE Won't that get wet?

HOGAN I use it to blow holes in sunken wrecks.

CUT TO:

143. EXT. NEVSKY - BOW

Misha and the 3 Commandos stand on the bow with weapons ready. The LCM churns ahead of them in the distance. Commando 1 shoulders his RPG, but waits to aim it. ·(

. ,) 243 CUT TO: 144. EXT. LCM - STERN

Hogan drags two boxes of TNT floats onto the deck. He reaches the stern and lifts his binoculars to his eyes.

CUT TO: 145. HOGAN'S POV - THROUGH BINOCULARS - NIGHT

We see a bow view of the onrushing Nevsky. There is no doubt whose ship this is.

CUT TO: 146. EXT. LCM - STERN

Hogan lowers his field glasses and opens a door to the to the bridge.

CUT TO: 147. INT. LCM- BRIDGE Rick crosses to the ladder.

RICK It's a Russian trawler all right. We're in deep shit.

CUT TO: 148. INT. LCM - ENGINE ROOM The diesel engines vibrate and roar with all their power. Hogan lugs a five-gallon jerry can of oil past the engines along a grated catwalk. He stops beside the diesel exhaust manifolds and opens an attachment next to a mechanical device. Worn stencil lettering on the device reads SMOK GEN RATOR. Hogan opens a filler cap and pours oil into the filler tube. CUT TO: 149. INT. NEVSKY - BRIDGE Slava drinks from a bottle of mineral water. SLAV A (Smiles at helmsman) It's like hunting sables in Siberia. once they're up a tree, it's over. ·( . " 244 CUT TO: 150. INT. LCM - BRIDGE

Rick hauls five sacks of coconuts up the ladder and out the bridge door.

CUT TO: 151. EXT. LCM - STERN

Rick drags the coconut sacks to the stern and heaps them into a protective barrier, like sandbags.

CUT TO: 152. INT. LCM - BRIDGE Kettie steers and looks down at the radar screen. Her demeanor changes from concern to worry as the two dots on the screen move closer to each other. Hogan enters the bridge and points to a switch. HOGAN Pull that switch when I tell you to. (He lights a cigar) It makes a smokescreen ... ! hope. Hogan crosses to the door.

KETTIE Hogan, be careful.

HOGAN (Pausing, he looks back at Kettie) They'll have to get me before they get you. Hogan exits. CUT TO:

153. EXT. LCM - STERN Hogan pulls the boxes of float bombs behind his barricade and looks up at the approaching Nevsky. His lips move as he makes some silent calculations. He grabs two float bombs and gauges the fuse lengths with his fingers. He whips out his knife and cuts off the fuse ends. He puffs his cigar and lights the fuses .

• <) 245 CUT TO: 154. ANOTHER ANGLE

Hogan tosses the sizzling float bombs into the sea and ducks behind the coconut sacks.

CUT TO: 155. ANOTHER ANGLE

The bombs, hard to see in the dark, bob in the LCM's foamy wake. CUT TO:

156. INT. NEVSKY - BRIDGE

SLAVA (On phone) standby .•.

CUT TO:

157. EXT. NEVSKY - BOW MISHA (On phone) Standby!

Commando 1 takes aim at the LCM's stern with a steady hand.

CUT TO:

158. INT. NEVSKY - BRIDGE - CU ON SLAVA

SLAVA Closer ..• closer .•. CUT TO:

159. EXT. LCM - STERN HOGAN Kettie, NOW! CUT TO:

160. INT. LCM - BRIDGE

Kettie pulls the smoke switch.

246 CUT TO: 161. EXT. NEVSKY - BOW - OVER THE SHOULDER SHOT Commando 1 takes careful aim at the LCM's stern. Suddenly, smoke billows out of the LCM's smokestack, completely obscuring the Russian's view.

CUT TO: 162. INT. NEVSKY - BRIDGE SLAVA Hold your fire! CUT TO: 163. EXT. NEVSKY - BOW Commando 1 impatient, launches his rocket. The rocket whooshes out of the launcher and screams into the smoke. MISHA Hold your fire! CUT TO:

164. INT. NEVSKY - BRIDGE SLAVA stupid! CUT TO:

165. EXT. NEVSKY - BOW MISHA (Turns to Commando 1) Stupid! CUT TO:

166. EXT. LCM The rocket streaks out of the smokescreen and explodes in the ship's wake with a terrific roar. A pillar of white water climbs skyward. CUT TO:

247 167. ANOTHER ANGLE

Hogan shelters his cigar with his hands.

HOGAN Kettie! Zig zag!

CUT TO: 168. INT. LCM - BRIDGE

Kettie spins the wheel hard over.

CUT TO: 169. INT. NEVSKY - BRIDGE

Slava watches the smokescreen.

SLAVA Resourceful.

CUT TO: 170. EXT. NEVSKY - BOW

Commando 1 reloads his RPG. commandos 2 and 3 fire their guns into the smoke.

CUT TO: 171. EXT. LCM - STERN

Rick ducks as bullets blindly pepper the sternplates. Bullets ricochet off the hull and hit the coconut sacks. Some of the coconut milk spills onto the deck.

CUT TO:

172. EXT. NEVSKY - BOW

Commando 2 shoulders his RPG and takes aim at the smoke, this time, he waits.

Suddenly, the sea explodes off the portside. One of the float bombs has gone off. A fountain of water geysers upward. The shock knocks the Commandos on their butts.

A second bomb explodes off the starboard side. Another pillar of water arcs skyward.

CUT TO:

248 173. INT. NEVSKY - BRIDGE

SLAVA (surprised, rattled) Rockets?! (Turns to the Helmsman) Zig zag!

The Helmsman manuevers the wheel.

CUT TO: 174. EXT. LCM - STERN

Rick lights several float bombs and hurls them into the sea, in all directions.

CUT TO:

175. EXT. NEVSKY - BRIDGE WING

Slava strains for a better view at the rail.

SLAV A (To Commando 1) Don't fire a rocket unless you can see their stern! We don't want to blow them up!

Slava cranes his neck as he spots something in the water alongside.

CUT TO:

176. ANOTHER ANGLE

A float bomb passes alongside the Nevsky.

CUT TO:

177. ANOTHER ANGLE

Slava sees the bomb. His eyes widen. He rushes back into the bridge.

CUT TO:

178. ANOTHER ANGLE

Five bombs explode from all points around the Nevsky. Water cascades onto her decks as the Commandos again land on their butts. CUT TO: '(

249 179. EXT. LCM - STERN

Hogan lights three more float bombs and throws them overboard.

CUT TO: 180. INT. NEVSKY - BRIDGE SLAVA (To the Helmsman) Steer starboard! Get out of their wake!

CUT TO: 181. EXT. NEVSKY

The trawler turns to starboard.

CUT TO: 182. ANOTHER ANGLE

A float bomb bobs in the water, its fuse smoking and growing shorter. The Nevsky, in the background, turns toward it. CUT TO: 183. ANOTHER ANGLE Another float bomb explodes where the Nevsky would have been had she not turned. A geyser of water rises. CUT TO: 184. INT. NEVSKY - BRIDGE Slava breathes a sigh of relief. CUT TO:

185. ANOTHER ANGLE The remaining float bomb clanks against the Nevsky's bow. Misha pokes his head over the gunwhales and spots the bomb. He drops his phone and nearly turns white. CUT TO:

186. ANOTHER ANGLE

·( The bomb clanks down the ship's side, toward the stern. . ' 250 MISHA (picking up phone) Rig for .. ! There is a bright flash and a roar. Misha falls to the deck as the trawler shudders. CUT TO: 187. INT. NEVSKY BRIDGE Slava and the Helmsman are thrown to the deck as the ship whipsaws. CUT TO: 188. INT. NEVSKY - ENGINE ROOOM The engine crew, some of them injured, rise to their feet and rush to the ruptured hull plates. Two fractures flood water into the engine room. The crew members grab lifejackets and mattresses and stuff them into the leaks. The leaks slow to a trickle as the men shore up ~he hull. CUT TO: 189. INT. NEVSKY - BRIDGE The Helmsman regains control of the wheel. Misha enters the bridge and helps Slava to his feet. Slava is slow to get his wits back. Misha puts on his headphones and mic. MISHA Engine room reports two hull fractures. Not fatal. They're shoring them up. They have one cracked engine mount ... and the hydraulics for the rudder are damaged and leaking. SLAVA our speed? HELMSMAN 18 knots. SLAVA More than enough to do the job. HELMSMAN That hydraulic damage ... I can feel it. She's manuevering like a tank. ·(

. 0

251 SLAVA Slow ahead. Prepare to launch a skiff.

CUT TO:

190. INT. LCM - BRIDGE

KETTIE (looking at radar screen, elated) They're falling behind.

RICK Maybe we hurt them.

CUT TO:

191. EXT. NEVSKY

A skiff motors away from the Nevsky. commando 1 and 2 are inside. Commando 2 pilots the boat and carries his AK-47. Commando 1 shoulders an RPG and a backpack full of rocket reloads.

CUT TO:

192. INT. NEVSKY - BRIDGE

SLAVA Full speed ahead. What's their radar bearing?

MISHA Radar is out from shock damage.

SLAVA Damn.

CUT TO:

193. INT. LCM - BRIDGE

KETTIE (glancing at scope) They're pacing us, about a mile behind.

HOGAN What's that little dot? See? On the screen.

KETTIE AND HOGAN A speedboat. CUT TO:

' " 252 194. EXT. OCEAN The skiff roars toward the LCM. CUT TO: 195. INT. LCM - BRIDGE Rick adjusts his rifle scope and shoulders the weapon. He opens a locker and extracts several boxes marked "tracers." He removes ammo clips from the boxes and stuffs them into his jacket. HOGAN We can't outmanuever a speedboat. I hope I'm good enough to stop them. KETTlE You'll stop them. HOGAN (Surprised at her confidence in him.) Keep your head down. (Hogan grabs a flare pistol and flare cartridges) Hogan exits the bridge. CUT TO: 196. EXT. LCM - THE BRIDGE RAIL Hogan drags two coconut sacks next to the side of the bridge. He kneels down, holds his rifle in one hand and aims the flare pistol skyward with the other. He fires a flare. CUT TO: 197. EXT. OCEAN - THE SKIFF A flare bursts high overhead. The two commandos look up. Commando 1 readies his RPG. Commando 2 steers with one hand and aims his AK-47 at the LCM with his other hand. He fires the gun. CUT TO:

253 198. EXT. LCM Rick kneels behind the coconut sacks on one knee. He aims the high powered rifle as bullets pepper the hull. He fires rapidly. CUT TO: 199. ANOTHER ANGLE Tracer bullets streak over the heads of the Commandos. Commando 2 fires his AK-47. Commando 1 fires a rocket. CUT TO: 200. ANOTHER ANGLE The rocket explodes against the LCM's crane, knocking it over. CUT TO: 201. EXT. LCM - ANOTHER ANGLE Rick fires another flare. HOGAN Kettie! Are you okay? KETTlE'S VOICE I'm all right. Just get them! Hogan takes aim with his rifle. CUT TO:

202. EXT. OCEAN Commando 1 reloads his RPG and raises it to his shoulder to take aim. Commando 2 fires his AK-47. CUT TO: 203. EXT. LCM Bullets pepper the bridge and railing. Hogan fires a few shots. A bullet hits him in the upper arm. Hogan groans with pain as he bleeds. He takes the rifle, and aims again. Camera DOLLIES in to the gun barrel and scope for a closeup. He fires once, then again ... then a last time. CUT TO:

254 204. EXT. SKIFF Two tracers miss. Then one hits the outboard motor. A fuel line catches fire, bursts and sprays burning gasoline onto Commando 1's back. Commando 1 catches fire and screams. His backpack erupts in flames and he stands up. He drops his RPG. Suddenly, a rocket in his backpack ignites. Commando 1 is carried away into the sky as he streams sparks. Camera PANS with him as he sails into the sky, arms flailing. He EXPLODES in a blaze of glory. CUT TO: 205. ANOTHER ANGLE The skiff blazes with ingited gasoline. The fuel tanks touch off and explode. The Skiff disintegrates. CUT TO: 206. EXT. LCM Rick's face registers disgust at the horrible fate of the commandos. He stands up, holding his upper arm, and enters the bridge. CUT TO: 207. INT. LCM- BRIDGE Rick staggers into the wheelhouse. KETTlE (seeing his arm) Oh, God. Look at you. HOGAN You should see the other guys. (Hogan grabs the wheel with his good hand.) KETTlE (She reaches under her blouse and unashamedly unstraps her bra. She pulls it out of her blouse and wraps it tightly around his arm wound.) You're lucky ...

255 HOGAN (looking at the cups, noting their size) You're right.

KETTIE (smirking with false scorn) You men. The bullet passed right through.

HOGAN We took care of the boat. Now we have to stop that trawler.

KETTIE (looks down at the radar screen) They're closing. (a thought occurs to her)

Camera quickly DOLLIES into her face as she looks up at Hogan.

KETTIE Are you thinking what I'm thinking?

CUT TO:

208. INT. NEVSKY - BRIDGE

SLAVA (On mic) Arm some men and assemble them on the deck. We're going to board them.

MISHA (lowering field glasses) They've turned leeward, behind their own smokescreen.

SLAVA Helm. steer to the edge of the smoke and parallel it. When I think we're beside them, we'll cut through the smoke and take them with grapples.

HELMSMAN (turns the wheel) Rudder's very sluggish, sir.

SLAVA Screw the rudder. CUT TO: ·( /

256 209. INT. LCM - BRIDGE Rick and Kettie watch the radar screen. HOGAN They're on the other side of the smoke. Coming up abeam .•. hold on ... hold ... hold. Turn hard right!

CUT TO: 210. EXT. NEVSKY DECK

The crew readies submachineguns and grappling hooks. They stare expectantly at the smokescreen. Suddenly, the bow of the LCM pokes through at full speed. The LCM looms out of the smoke, heading directly for the Nevsky. The crewmen open fire.

CUT TO: 211. INT. NEVSKY - BRIDGE camera DOLLIES rapidly into Slava's face. SLAVA Hard to starboard! Full power port engine! CUT TO: 212. EXT. NEVSKY The Nevsky sluggishly turns away. It's too late. Some sailors fire as the other scramble for cover. CUT TO:

213. INT. LCM - BRIDGE Kettie and Rick duck behind steel armor plate as bullets shatter the bridge windows and spew debris across the deck. CUT TO:

214. EXT. OCEAN - HIGH OVERHEAD VIEW - LOOKING DOWN The LCM heads straight for the Nevsky. It plows squarely into the Nevsky's side with the sound of grating metal. CUT TO: ·(

' t~

257 215. INT. LCM - BRIDGE Rick rises to his feet, stops the throttle and then throws the throttle levers into full reverse.

CUT TO: 216. EXT. LCM

The LCM pulls its bashed bow out of the stricken trawler and draws away. Seawater pours into the hole in the trawler's side. Commando 3, machine pistol slung over his shoulder, climbs the Nevsky's rail and jumps onto the LCM's dangling anchor.

CUT TO: 217. EXT. LCM's BOW Slava, silhouetted by the lights of the Nevsky's bridge, watches the LCM get away.

CUT TO: 218. ANOTHER ANGLE

Commando 3 climbs the anchor chain to the LCM's prow and lifts himself to the main deck. CUT TO: 219. INT. LCM - BRIDGE Kettie spins the wheel hard over and Hogan pushes the throttle forward to full power. Kettie squints. CUT TO: 220. EXT. LCM - ANOTHER ANGLE The LCM turns and speeds away from the sinking trawler. Commando 3 unslings his machine pistol and sneaks up on the bridge. CUT TO:

221. EXT. LCM - ANOTHER ANGLE Commando 3 passes the cargo hold hatchway and raises his gun at the bridge. Grog climbs out of the hatchway and barks at the intruder.

·(

• tl 258 --··------

Startled, the intruder wheels around and fires at Grog. The dog yelps and rolls onto the deck.

Commando 3 turns around to finish off Rick and Kettie.

CUT TO: 222. ANOTHER ANGLE - THE DECK IN FRONT OF THE BRIDGE A pump shotgun fires once. Camera PANS to reveal Kettie holding it.

CUT TO: 223. ANOTHER ANGLE

Commando 3 lies dead on the deck.

CUT TO: 224. ANOTHER ANGLE Kettie, shocked, trembles over what she has just had to do. Hogan ties the wheel with a rope and crosses to Kettie. He takes the gun. They inspect the body. HOGAN Welcome to the real world.

CUT TO: 225. ANOTHER ANGLE Hogan crosses to the main hatchway. He kneels down beside Grog and pets him. Grog is blood spattered and barely alive. Grog's eyes look forlornly into Hogan's. HOGAN Hey, Grog. You want a beer? Grog wags his tail a few times and dies. CUT TO: 226. EXT. OCEAN Slava and his crewmen ride in lifeboats. Slava talks on a portable radio set. SLAVA Thank you, Potemkin. We'll expect you within the hour.

' ~ 259 ------

Camera DOLLIES slowly into Slava's face. He seethes with an understated, malevolent fury.

260 CUT TO: 227. INT. LCM- BRIDGE HOGAN our radio's shot to hell. KETTlE How far to Ponape? HOGAN 250 miles. I guarantee they'll never let us get there. KETTlE Where then? HOGAN It's just as far to Truk. They won't expect us to go northwest. KETTlE I'm about to fall over. HOGAN I hear you. Oolong Nama atoll is two hours from here. It's deserted but there's a lagoon with big mangroves in it. It'll give us cover and a chance to rest. KETTlE Let's go for it. Hogan spins the wheel. FADE TO BLACK: DISSOLVE TO: 228. EXT. OOLONG NAMA ATOLL - THE LAGOON - MORNING we hear birds cawing and chirping. Camera TILTS DOWN and PANS through a grove of Mangrove trees. Camera stops on the LCM. The ship is heavily shaded and well concealed. CUT TO: 229. ANOTHER ANGLE - ON HOGAN Hogan snoozes outside on the main deck. He slowly awakens.

261 --- ~--- ~---

Suddenly, a large plastic bag full of marijuana lands beside his head. Rick looks up.

CUT TO: 230. ANOTHER ANGLE Kettie stands over him, looking down on Hogan with contempt. HOGAN What .• What is it? KETTIE Well, it's green •.. it looks like marijuana ... it smells like marijuana ..• and it's packaged like marijuana. HOGAN (sitting up) Oh, yeah? KETTIE I found 100 pounds of it under that junk below deck.

HOGAN (thinking) What were you doing in my junk?

KETTIE You're good, Hogan. You had me feeling sorry for you. What a poor alcholic man. Maybe all he needs is a good woman? You look so poor and helpless. What an act! HOGAN (standing up) Act? You said it yourself, I'm a bum! KETTIE A bum who smuggles marijuana for a living. (she displays his whiskey bottle) And if you're a wino, how come you only have one bottle of hard liquor on this ship? HOGAN It doesn't take much to destroy my self esteem. KETTIE (she smashes the bottle) Phoney! You put on this sad sack act so nobody will figure out what you're really up to!

262 HOGAN All right. I make a little extra money delivering a little pot. It's not legal and yes, it's wrong, but it makes ends meet.

KETTlE That's an excuse for not trying. You're a crook!

HOGAN Crook? Crook?! I tried the honest way. A 9 to 5 job and a marriage that lasted one year because I couldn't put my wife in a Mercedes fast enough. I got tired of working hard and getting laid off while the big boys got six figure salaries for picking on little people. As long as that's the way America is, I'll stay out here and be a crook! KETTlE I don't know you.

HOGAN You don't want to know anybody. (This line hurts Kettie) A fine woman puts herself out in the middle of nowhere for an article on fish? I don't believe it.

CUT TO: 231. ANOTHER ANGLE - LOOKING DOWN AT MAIN DECK Hogan climbs the ladder to the bridge. Kettie stands motionless, looking down at the deck. DISSOLVE TO: 232. EXT. SOUTH PASS TO TRUK We hear Koyanisqatsi-style whirring/rushing music on the soundtrack as the LCM steams between 2 islands in the south pass to Truk. CUT TO: 233. ANOTHER ANGLE A periscope rises and rotates above the water, as if searching. It zeros in on the LCM. ·( CUT TO: • 0

263 234. PERISCOPE POV The crosshairs of the scope center on the LCM.

CUT TO: 235. INT. SOVIET SUBMARINE captain Atarov watches through the scope. He flips the handles up and steps back. ATAROV It's them. Down scope. Dive. 300 meters. DISSOLVE TO: 236. THE TOWN OF MOEN - TRUK ISLAND - DAY Establishing shot of Moen.

CUT TO: 237. A SIDEWALK RESTAURANT- ALONG THE MAIN DRAG OF MOEN Kettie enters the restaurant and looks toward the sidewalk. CUT TO: 238. POV - KETTIE camera PANS and stops on a table. HOGAN and a CHINAMAN bargain and dicker. We aren't close enough to hear what they're saying, but the scene speaks for itself. The Chinaman shakes his head. The arguing continues. Hogan shakes his head. Suddenly, an offer is made. Hogan nods. Hogan gives the Chinaman some paperwork. The Chinaman looks it over and nods. He doles out a wad of loot to Hogan. Hogan counts it fast. The two shake hands and the Chinaman departs. CUT TO: 239. ANOTHER ANGLE Kettie approaches the table and sits down with Rick as he puts away his money. KETTIE The diary's in the hotel safe. I checked with the flight strip. There's a Pan Am ·( leaving for San Francisco at three .

. ~

264 HOGAN I sold my boat.

KETTlE Did you get much?

HOGAN Enough to keep us going until we can get help. I'll buy the tickets. KETTlE I can pay my own way. HOGAN I ... uh .•• didn't mean it the way it came out yesterday. KETTlE Look. The way I see it, all we have in common is that diary. Strictly business, me and you. But don't you ever bullshit me! If you do, I'll know. HOGAN Don't you ever give a guy a break? I saved your life.

KETTlE I expect more from a partner. And what were you protecting? Me or your pot? CUT TO: 240. ANOTHER ANGLE A waiter intervenes. WAITER You and the lady like a drink, sir? HOGAN Two cold beers.

The waiter exits. Marshall Logan enters and approaches the table.

LOGAN (shaking hands with Rick) Rick ••.

. ~

265 LOGAN (tipping his hat to Kettie) Kettie ... we sent a flying boat back to the island. They confirmed your story. I've been instructed to keep this quiet until the State Department sorts this out. HOGAN Are we safe here? LOGAN I have relatives all over these islands. They've been watching out for you. KETTlE Then we can leave? LOGAN The NSA will pick you up in San Francisco. They want a look at that diary. (Logan hands Rick a spent cartridge from the island) Oddball shell. I've sent that machine gun back to the states for analysis. It doesn't match any model I know of. HOGAN Real pros, huh? LOGAN They make Al Capone look like a kid. CUT TO: 241. EXT. TRUK - AERIAL SHOT We hear more Koyanisqatsi-type whirring/rushing music. A 747 roars over the island. Camera PANS from chase plane as the jet streaks past and banks over the sea. CUT TO: 242. INT. 747 - PASSENGER SECTION Rick and Kettie sit next to each other, talking. It's clear from her body language and facial expression that she still doesn't trust Hogan, but she is attracted to him. She pulls a Romance novel out of her book and flips through it. Camera DOLLIES down the aisle and stops. The JAPANESE MAN whom we have previously seen as SAILOR 2. He sits in his seat, biding his time. End music.

266 CUT TO: 243. EXT. SAN FRANCISCO INTERNATIONAL AIRPORT - NIGHT Establishing shot.

CUT TO: 244. INT. AIRPORT - CUSTOMS AREA Rick and Kettie arrive in front of the crowd at the Customs area. BILL BLAKE, a balding man wearing a suit, spots them and steps over to them. BLAKE Mr. Hogan? Miss Boyd? {They nod) Bill Blake, National Security Agency.

KETTIE could we see some I.D?

BLAKE (reaching for it, fumbling) Oh, sure.

HOGAN Kettie, that's not necessary. Of course he's from our government. KETTIE How do we know for sure?

HOGAN Who else would send Bozo the Clown in a 3-piece suit? BLAKE (showing I. D. ) I beg your pardon? CUT TO:

245. ANOTHER ANGLE The Japanese man watches from the line. He glances over at an oriental customs agent. There is a look of recognition. The customs agent exits the area and walks through a rear doorway. CUT TO:

267 246. ANOTHER ANGLE Blake escorts Hogan and Kettie through another doorway. BLAKE (To Hogan) What are you, some kind of wise guy? The trio exit through the doorway. CUT TO: 247. INT. AIRPORT GARAGE TUNNEL Blake, Kettie and Hogan get into a Ford limousine. The limousine takes off. CUT TO: 248. EXT. AIRPORT TRAFFIC CIRCLE A fat CAB DRIVER stands in a phone booth and talks on the receiver. The NSA limousine passes by. He turns and sees the limousine. He slam hangs the phone and and dashes to his old station wagon cab. He climbs in, guns the engine and rumbles off in pursuit of the limousine. WIPE TO: 249. EXT. TREASURE ISLAND - SUNSET We see a view of the San Francisco Bay Bridge and city skyline from Treasure Island. Sailors, officers and some Marines walk around the area, to and from their jobs. Camera pans across a sign reading "Welcome to Treasure Island." CUT TO: 250. INT. TREASURE ISLAND NAVAL HEADQUARTERS Blake walks Rick and Kettie down a corridor. They arrive at a door guarded by a Marine. Blake shows his I.D. The Marine waves them past the door. CUT TO: 251. INT. CONFERENCE ROOM Blake, Rick and Kettie enter the room. Admiral Kenyon, a gentlemanly black man in short-sleeve uniform, rises.

268 He greets them along with Lt. Louise Estrada, an attractive hispanic woman who is setting up a projector. Mitch Williams, an adviser for the National Security Council also steps forward. BLAKE Admiral Kenyon ... this is Mr. Hogan and Miss Boyd.

KENYON (shaking hands) Hi ... did you enjoy your stay at the BOQ? KETTIE Very nice, thank you.

KENYON This is Lieutenant Estrada. She's an intelligence analyst. WILLIAMS And I'm Mitch Williams ..• National Security Council. I work with the state department and the CIA.

KENYON Let's get started. WILLIAMS {producing the Russian machine pistol) This is a czech 52 machine pistol. There are only twelve of them in the world. Fires 61 rounds per second. It makes an Uzzi look like a bb-gun. BLAKE They were special ordered by the KGB in 1974. They're used only by members of an elite soviet hit squad. Estrada activates the projector. We see a mug shot of commando 3.

ESTRADA. This is Ladislov Relsky ... the man you shot. WILLIAMS He was crack agent for the Polish SB. The KGB often uses agents from the Sluzba. BLAKE '( You're very lucky to be alive.

269 WILLIAMS Langley tells us there's been a lot of coded Soviet radio traffic around Truk. I think they're interested in you.

KENYON Let's get to the diary.

·( I

' I

270 The lights dim.

CUT TO: 252. ANOTHER ANGLE

We see a slide of the cruiser Admiral Nakhimov. ESTRADA The Admiral Nakhimov •.• an old Russian cruiser from the days of the Czar.

The slide changes. We see a photo of the cruiser sinking.

(MORE) She sank in 1905, at the battle of Tsushima. Here she is being scuttled by her crew. The slide changes. We see a map of the straits between Japan and Korea.

(MORE) She now lies in 300 feet of water in the Tsushima straits, midway between Japan and Korea.

The slide changes. We see a photo of the Russo-Japanese war.

(MORE) The story begins in Port Arthur, Manchuria .•. a province of China taken over by Russia at the turn of the century. The Japanese and and the Russians went to war here in 1904. The slide changes. We see a photo of Czar Nicholas.

(MORE) Czar Nicholas had a problem. He had to send a fleet to fight the Japanese Navy ... and he had to pay for his war with Japan. The slide changes. We see a map of Asia.

(MORE) Somehow, he had to send a shipment of gold to his creditors in Hong Kong. They wanted payment up front •.. before the war was over.

The slide changes. We see a photo of a muddy road. ·(

. il 271 (MORE) But the roads in Russia were terrible and easy to raid. The slide changes. We see a photo of a railroad and train.

(MORE) And the Trans-Siberian Railroad was not yet finished. The slide changes. We see a photo of a fleet at anchor. (MORE) So the Czar decided to send the gold with his battlefleet .•. The slide changes. We see a photo of the fleet's course on a map through the Indian Ocean and the South China sea. (MORE) Down through the Indian Ocean, past Indochina and up to Hong Kong on board the Nakhimov.

The slide changes. We see a photo of a mutiny on board a ship.

(MORE) But the Russian sailors were mostly convicts, misfits and rabble rousers. If the crew of the Nakhimov knew their ship carried gold, they might have mutinied and sailed away with it. The slide changes. We see a photo of a man; Molochko. (MORE) So the czar's trusted advisor, Molochko, devised a plan. The slide changes. We see a photo of gold being melted in a foundry. (MORE) He had the gold cast into the shape of naval ammunition. Six inch gold shells weighing 120 pounds each. The slide changes. We see a photo of ammo handlers loading shells into a warship's magazine.

' ~ 272 (MORE) The sailors on the Nakhimov paid no attention to the gold shells since they looked exactly like normal brass ones.

The slide changes. We see a photo of the fleet sailing.

(MORE) So the fleet set sail for the far east. Only one man in the fleet knew about the Nakhimov's treasure •..

The slide changes. We see a photo of a Russian Admiral.

(MORE) Admiral Folkershim was to order the cruiser and its gold to Hong Kong.

The slide changes. We see a photo of a man in a sick bed on a ship.

(MORE) But fate intervened. Folkershim had a stroke on the journey. He never gave the order to send the Nakhimov to safety.

The slide changes. We see a photo of the sea battle of Tsushima.

(MORE) Instead of going to Hong Kong, the Nakhimov was sunk in the straits.

The slide changes. We see a photo of a mass execution.

(MORE) To keep the secret quiet, the foundry workers who had cast the shells were shot.

The slide changes. We see a shot of a man in flight.

(MORE) Molochko disappeared. The czar's secret police looked for him, but never found him.

The slide changes. We see a photo of an expedition.

(MORE) The Czar tried to find the sunken ship, but had no luck.

273 The slide changes. We see a picture of the Russian revolution. (MORE) Later the communists took over Russia, and the Czar was shot. Now, only Molochko knew the secret. The slide changes. We see a bee farm with beeekeepers. (MORE) Molochko resurfaced as a beekeeper on a communal farm. Due to tuberculosis, he was never able to leave. He wrote the diary and hid it in a bee hive. The slide changes. We see a grave marker. (MORE) And that's where the story would have ended, because he died in 1956. The slide changes. We see a photo I.D. of Krivda. (MORE) Somehow, Yuri Krivda found the diary while cleaning out a beehive. He engineered his escape from the Soviets by joining the merchant marine with the intention of jumping ship. The slide changes. We see a photo of a the Kremlin. (MORE) The KGB discovered Krivda's plan, probably from a prostitute, and trailed him to the Pacific. And you know the rest. CUT TO: 253. ANOTHER ANGLE Williams steps forward. The slide changes. We see a photo of a Japanese diving expedition. WILLIAMS In 1978, The Nakhimov was found by divers.

The slide changes. We see a photo of a Japanese man in a wheelchair.

274 WILLIAMS This is Masaharu Yamaga, a wealthy Japanese industrialist. His men explored the wreck but came up empty handed.

KENYON His divers were looking for bullion, not gold disguised as ammunition.

ESTRADA Too many divers have been killed messing with old ammo. So they didn't go near the ship's magazines. We think there's at least one and a half million pounds of gold ... or over 6 billion dollars at today's value. CUT TO:

254. ANOTHER ANGLE

The lights come on.

HOGAN Six billion ..•

KENYON It's your diary. If you can recover the treasure I guess you deserve it. CUT TO:

255. ANOTHER ANGLE

WILLIAMS Washington doesn't want the gold to fall into the hands of the Soviets or the Japanese. KENYON The Soviets would use it to finance dozens of worldwide guerilla wars or worse, give a big boost to their own Star Wars program.

ESTRADA If the Japanese get it, they'll use it to manipulate our economy and ruin our industry. WILLIAMS We're strapped; what with military spending and the deficit. We're up against the wall.

275 KENYON The Fed wants to help you raise and finance a salvage expedition.

CUT TO:

256. ANOTHER ANGLE

HOGAN How much do you want?

WILLIAMS How would you two like to end up with 500 million dollars, tax free, when it's all over?

CUT TO:

257. ANOTHER ANGLE

HOGAN (outraged) out of six billion?! What a rip ...

CUT TO:

258. ANOTHER ANGLE - UNDER THE TABLE

Kettie kicks Hogan in the shin.

HOGAN Oww!

CUT TO:

259. ANOTHER ANGLE

KETTlE We'll take it. It's a deal.

Hogan and Kettie eye each other angrily.

CUT TO:

260. ANOTHER ANGLE

KETTlE What about salvage rights? The Japanese won't just let us come in and take it?

. I I

276 WILLIAMS We're working on that. We want to avoid legal entanglements.

KENYON As long as nobody knows what you're really up to, both the Soviets and the Japanese shouldn't cause trouble.

CUT TO: 261. ANOTHER ANGLE

Estrada activates a video projector. We see a film of a salvage expedition. Thor Bergen, a man in wire-rimmed spectacles, supervises the salvage operation.

ESTRADA This is Thor Bergen. He's Norwegian. Probably the best salvager in the world.

KENYON He has one hell of a ship. You'll be working with him.

WILLIAMS He's done a lot of work for us and is very trustworthy. A bit eccentric, but he knows his stuff.

KENYON His ship is refitting up in Vancouver. He'll be ready to sail in one week.

WILLIAMS A word of warning. Don't expect help from us once you're at sea. So stay alert.

CUT TO:

262. ANOTHER ANGLE

HOGAN That's great, you want 90 percent of it but you don't want to earn ...

Kettie kicks him under the table.

CUT TO:

KETTIE ..• Thank you. We'll be in Vancouver ·r by the end of the week .

• cl

277 CUT TO: 263. ANOTHER ANGLE Rick and Kettie rise. Williams hands Hogan the dairy. WILLIAMS Don't let the Russians get hold of this. HOGAN Why don't you keep it?

WILLIAMS It's your property. Hogan takes the diary. We see him thinking as he and Kettie begin to exit. Something bugs Hogan about William's careless attitude. They exit. CUT TO: 264. ANOTHER ANGLE ESTRADA (To Williams, puzzled) Sir ... as long as they have that diary, their lives are in danger.

WILLIAMS I know. CUT TO:

265. EXT. TREASURE ISLAND Rick and Kettie walk toward a rental car. Camera TRUCKS alongside them. Rick looks worried.

KETTIE What's wrong? HOGAN He just gives it back to us, like that. No security. No protection. We're on our own ... (pause) Bait. KETTIE Huh? HOGAN '( They're using us as bait.

. ~ 278 KETTIE What for?

HOGAN You're a journalist. What's more valuable than gold?

KETTIE Information.

HOGAN so the KGB risks a spy network to steal back the diary. And who gets credit for capturing them?

KETTIE Williams.

HOGAN And who cares if we get killed?

KETTIE And how do we know they told us the real story of the Admiral Nakhimov?

HOGAN We need a safe place to think about this.

KETTIE My father runs a casino in Tahoe. I have friends there.

HOGAN Let's get moving.

CUT TO:

266. ANOTHER ANGLE

Rick and Kettie climb into their Thunderbird.

CUT TO:

267. ANOTHER ANGLE

The fat Cab Driver sits in his station wagon and watches the Thunderbird drive out of the Treasure Island gate.

. " 279 CUT TO: 268. INT. THUNDERBIRD - NIGHT Rick drives. KETTlE Let's go back to SFO. We'll catch a flight out.

CUT TO: 269. EXT. ANOTHER ANGLE The Thunderbird zooms up the onramp and onto the top deck of the Bay Bridge, towards San Francisco. CUT TO: 270. INT. THUNDERBIRD - ANOTHER ANGLE A Japanese man, wearing sunglasses and driving a BMW, turns on his signal and passes Hogan's car. The BMW signals and slides over in front of the Thunderbird. CUT TO: 271. ANOTHER ANGLE - LOOKING TOWARD THE REAR WINDOW A Japanese man, wearing sunglasses and driving a Volvo, activates his signal and slides in behind the Thunderbird. Rick glances up at the rear view mirror. HOGAN There's a chinaman in front of us and behind us. Kettie glances at the side view mirror. KETTlE Let's not get paranoid. This is San Francisco. CUT TO: 272. ANOTHER ANGLE A Toyota drives up alongside, completing the box, pacing the Thunderbird as it drives alongside the bridge railing. A Japanese man drives and a Japanese woman rides next to him. Both wear sunglasses. The Japanese woman holds what appears to be a baby in a blanket. Kettie and the woman exchange glances. CUT TO:

280 273. ANOTHER ANGLE Kettie extracts Rick's pistol from her purse. KETTlE Now I'm paranoid.

RICK I hope you're wearing your seat belt. CUT TO: 274. ANOTHER ANGLE The Japanese woman in the Toyota starts to pull a Sten gun out of her blanket. KETTlE Punch it! CUT TO:

275. ANOTHER ANGLE Rick turns the wheel. The Thunderbird swerves and slams into the side of the Toyota. The Thunderbird pushes the Toyota into another lane. CUT TO: 276. ANOTHER ANGLE Rick's foot hits the gas pedal. CUT TO: 277. ANOTHER ANGLE The Thunderbird surges forward and ahead of the Japanese cars. The Thunderbird races toward San Francisco, swerving in and out of the bridge traffic. The Japanese cars give chase. CUT TO:

278. INT. DIFFERENT CAR A grandma and grandpa watch as the Thunderbird streaks by them. Then, the BMW roars by. Then the Volvo rushes past. Then the Toyota weaves through with the Japanese woman cocking her sten gun in the open window.

281 MARTHA Look at that, Edgar.

EDGAR Those boat people don't know how to drive.

CUT TO: 279. INT. THUNDERBIRD - ANOTHER ANGLE

Rick swerves onto a downramp into the city.

HOGAN If we stay on the bridge, we're dead.

CUT TO:

280. EXT. STREET

The Thunderbird roars onto the street and squeals around a corner. The 3 Japanese cars follow, tires whining.

CUT TO:

281. EXT. ANOTHER NARROW STREET

The Thunderbird screeches to a smoking stop in front of a double-parked truck which blocks the way.

CUT TO:

282. INT. THUNDERBIRD

KETTlE We're dead.

CUT TO:

283. EXT. STREET

Kettie and Hogan pile out of the Thunderbird as the Japanese cars rush up from behind. Hogan and Kettie run past the truck to the other end of the street.

CUT TO:

284. ANOTHER ANGLE

The Toyota backs up and zooms down another street.

CUT TO:

282 285. EXT. THE OTHER END OF THE STREET Rick and Kettie run toward the cross-street. Suddenly, a car looms into view and blocks their escape. It's the station wagon. The fat CAB DRIVER puts his fingers in his mouth, whistles and waves them on. He reaches back and shoves open a back door. Rick and Kettie dive in. CUT TO: 286. ANOTHER ANGLE The Cab Driver's foot hits the accelerator. CUT TO: 287. EXT. ANOTHER ANGLE The station wagon roars down the street at'high speed. The Toyota zooms after them. CUT TO:

288. ANOTHER ANGLE DRIVER (looking in mirror) Ricemobile! You okay, Miss Boyd? HOGAN (leaning forward) You know her? DRIVER Her old man sent me to watch out for y'all. I was going to pick you up at the airport, but the Feds gave me a hard time. CUT TO:

289. ANOTHER ANGLE The station wagon turns onto another street and streaks up the onramp to the Bay Bridge. CUT TO:

290. ANOTHER ANGLE The Toyota zooms up the ramp to the lower level of the bridge • . (

283 CUT TO: 291. INT. BRIDGE - MOVING SHOT The Japanese woman fires her Sten gun sporadically. The station wagon weaves.

CUT TO: 292. INT. STATION WAGON HOGAN Kettie ... the gun. Kettie hands Rick the gun. The cab Driver hits a button and the tailgate window lowers into the gate. CUT TO: 293. ANOTHER ANGLE

DRIVER Aim for the radiator! Trust me. Hit it. Hogan fires at the Toyota. The Toyota swerves. The Japanese woman fires a badly aimed burst of gunfire. CUT TO: 294. ANOTHER ANGLE Several bullets hit the Toyota's grill. A pair of bullets puncture the radiator. Water spurts out of the Toyota's front end. CUT TO: 295. ANOTHER ANGLE The Japanese woman fires another Sten gun burst. The station wagon's taillights shatter. CUT TO: 296. ANOTHER ANGLE Steam shoots out of the Toyota's hood. The car falls back and slows to a stop as the station wagon roars away. CUT TO: '(

. ~

284 297. ANOTHER ANGLE DRIVER See? Those Toyota's are whimp wagons! CUT TO: 298. INT. BRIDGE The Japanese driver and woman get out of the Toyota and kick the car. They curse in Japanese. Suddenly, we hear a long honk. Another car plows into the rear end of the Toyota. CUT TO: 299. INT. STATION WAGON DRIVER Where to? KETTlE Tahoe. CUT TO: 300. EXT. BRIDGE - LS - MOVING SHOT The Station Wagon drives onto the freeway. CUT TO:

301. EXT. TAHOE, NEVADA - NIGHT Camera PANS to show the trees and the main drag of Tahoe's casino strip. CUT TO:

302. EXT. STATION WAGON - MOVING SHOT Camera TRUCKS with the station wagon as it drives through the brightly lit strip.

HOGAN Nice town. KETTlE (pointing) There's my father's place. '( CUT TO:

. !l

285 303. EXT. BOYD'S PALACE The station wagon stops in front of the Palace's entrance. Rick and Kettie get out. Rick turns to the driver. HOGAN Thanks. DRIVER S'all right, man. The station wagon rumbles away. KETTIE This way. CUT TO: 304. INT. BOYD'S PALACE - FOLLOW SHOT Rick and Kettie walk into the Casino. For the first time, Rick offers Kettie his hand. She hesitates, and then takes it. They walk together down the main aisle. They pass rows and rows of busy slot machines and crowded craps and blackjack tables. They pass a roulette table. Many people in the Palace are foreigners. There a quite a few orientals, Indians, Europeans and Americans. CUT TO: 305. INT. OVERHEAD GALLERY Nick, a Casino bouncer, walks along the gallery, looking down through two-way mirrors at the gambling floor. He extracts a walkie-talkie from his holster. NICK Mr. Boyd? BOYD'S VOICE (filled with static) What is it, Nick? NICK Your daughter and some guy just walked into the joint. BOYD'S VOICE Pick them up.

' ~

286 NICK Right.

Nick heads down the gallery catwalk towards the exit.

287 CUT TO: 306. INT. CASINO Rick and Kettie pass a blackjack table. Nick arrives from the main hallway and meets our couple. NICK Miss Boyd. KETTIE (hugging him) Nick, how are you? (to Hogan) Nick's my father's right hand man. HOGAN (shakes Nick's hand) Nick ... NICK This way. The trio walks down the hall. CUT TO: 307. INT. CASINO OFFICE Rick, Kettie and Nick pass by Mr. Boyd's attractive red-haired secretary. Nick nods as he passes and the secretary presses a button which buzzes and unlocks the back door. Nick opens the door and the trio enters. CUT TO: 308. INT. BACK OFFICE We see Mr. Boyd, a normal, balding, somewhat heavyset dark-haired man, bowling on one of two private lanes. He rolls the ball. It knocks down all but two pins. Rick, Kettie and Nick arrive. He puts on his glasses. MR. BOYD (puffing cigar) I hate splits. KETTIE Hello, father.

288 MR. BOYD (pinching her cheeks as if she's a child. Kettie rolls her eyes) Kettie. How's my little girl?

KETTlE Fine.

Mr. Boyd and Hogan exchange glances. In a split second, they size each other up. Hogan does not trust Boyd, and Boyd nearly blows his cool, disliking Hogan so much that he almost glowers. Boyd suddenly puts on a smile.

MR. BOYD (shaking hands with Hogan) so you saved my daughter's life. I'm a grateful man. Nick, make sure this man gets a fine suite.

Nick nods.

HOGAN How's your security here?

MR. BOYD Good. I hear someone took some shots at you.

KETTlE Some Russians and some orientals.

MR. BOYD That must be an interesting diary you found.

HOGAN How did you know?

KETTlE I told him over the phone.

HOGAN ( Everything?!worried)

KETTlE No.

MR. BOYD Something about a treasure. Excuse me.

Mr. Boyd picks up his ball, turns and throws it down the alley. It knocks over one pin and leaves one standing. Boyd turns to Hogan.

289 MR. BOYD Tough shot.

KETTIE We need a translator. One who can read Russian.

MR. BOYD Nick, get a hold of the magician. I want him here tomorrow morning.

Nick nods. Kettie extracts the diary from her purse.

KETTIE We need to put this someplace safe.

MR. BOYD (smiling, he reaches for it) •.. my personal floor safe.

HOGAN (halting Boyd's hand) How about the hotel safe?

MR. BOYD (squinting) What's the matter? Don't you trust me?

HOGAN Of course. You're a grateful man.

MR. BOYD (his cigar lowers in his teeth) What are you ..• a wise guy?

KETTIE Why don't we put it in the hotel safe? Okay?

MR. BOYD (he puffs his cigar) Nick ... inform the concierge. (Nick exits) And, here ... (he produces a wad of bills and stuffs them into Rick's shirt pocket) ... you have yourself a good time. You want anything ... anything •.. you give me a call. (he smiles again)

Rick and Kettie turn and head out the door.

. ( CUT TO:

290 309. INT. CASINO HALLWAY Kettie and Rick walk briskly toward the hotel lobby. Camera follows. KETTIE Well, that's my father. HOGAN He's .•. one of the boys. KETTIE That's how he made it. He's a front for other people and their money. HOGAN Other people who can't own casinos? KETTIE I don't think he's a bad man. HOGAN You're his daughter and you don't know? CUT TO: 310. INT. CASINO Rick and Kettie arrive at the hotel lobby desk and check in. Kettie hands the diary to the manager and he takes it into the walk-in vault. After a few moments, the manager returns and hands Kettie the key to her safety deposit box. Camera REFOCUSES to the foreground and PANS over to a slot machine. We see Colonel Slava watching Rick and Kettie exit. Slava stands at a slot machine and drops a coin in. He pulls the handle. The rotating wheels of the machine reflect in his glasses, much like the radar screen did earlier. We hear the sound of a bell ringing as coins jingle out of Slava's machine. Misha walks up to Slava and quietly whispers to him beneath the din of the Casino floor. Slava nods and says something back. The two men exit the frame. CUT TO:

311. ANOTHER ANGLE The Japaneses man bartends in the Casino lounge. It is clear he has seen Rick and Kettie. He picks up the . ( telephone and dials .

. ~

291 CUT TO: 312. BOYD'S PALACE - THE 12TH FLOOR - HALLWAY

The elevator door opens. Kettie, Rick and Nick step out into the hallway. Nick leads the way. HOGAN What a place.

NICK These are the executive suites. You can't open the elevator here without your special key. So don't lose it.

CUT TO: 313. ANOTHER ANGLE Nick stops at Suite 121 and unlocks the door. He hands the key to Rick. Then he hands another key to Kettie. NICK Enjoy. Nick exits down the hallway to the elevator. HOGAN You coming in?

KETTlE I'll be in the next suite. 122.

HOGAN Kettie, these are the eighties. This is the way most men and women become familiar with each other. KETTlE (cooly judgemental of Rick) I know. Kettie exits toward her room and enters it. Rick opens his door.

HOGAN (under his breath) What's your problem? Rick steps into the suite. CUT TO:

.( I

. ~ 292 314. EXT. TAHOE CITY HALL Establishing shot. We read a sign indicating that it's the city hall.

CUT TO: 315. INT. CITY HALL - OFFICE OF CITY PLANNING Misha stands at a desk, in the closed office, next to an open filing cabinet. He takes snapshots of a set of blueprints spread out on a desk. He finishes shooting photos with his micro camera under the dim glare of his flashlight. Then, he returns the blueprints to the filing cabinet. CUT TO: 316. INT. HOGAN'S SUITE Hogan steps out of the shower, having just toweled himself dry. He tightens the belt on his robe. CUT TO: 317. ANOTHER ANGLE Hogan crosses to the bed and flops onto it. He sighs with relief. Suddenly, a dim light clicks on. Hogan sits up with a start. CUT TO: 318. WHAT HOGAN SEES A voluptuous blond SHOWGIRL, wearing a tight-fitting dress, the cleavage of her large, shapely breasts well­ exposed, sits beside a dim lamp. GINA Hello, Rick. I'm Gina. I'm yours for the whole night ... compliments of Mr. Boyd. HOGAN (smiling) What hospitality. GINA (rising, crossing to the bed) If you want, I can bring you another woman. If you're into that.

. ~

293 HOGAN Thanks, but I don't want to have a coronary.

CUT TO:

319. ANOTHER ANGLE - RICK AND GINA - FROM BEHIND GINA

Gina drops her dress to the floor, leaving her naked except for her lace panties. We see Rick thinking hard about this one.

GINA What's the matter, honey? Don't you like what you see?

HOGAN Oh, I like it. (Rick gets up out of bed) Tell your boss, thanks anyway.

CUT TO:

320. ANOTHER ANGLE

Gina pulls her dress back up.

GINA You're sure?

HOGAN A week ago, I would have jumped at you.

GINA It's not too late. (she crosses to the door) Is there anything I can get you?

HOGAN No thanks.

GINA (puzzled) All right.

Gina exits. CUT TO:

321. ANOTHER ANGLE

Hogan looks at himself in the mirror.

294 HOGAN I can't believe you passed up hot pussy.

CUT TO: 322. ANOTHER ANGLE Hogan crosses to his bed and flops onto it again, groaning. CUT TO: 323. INT. CASINO LOBBY We see Gina talking on a courtesy telephone in the lobby She hangs up. CUT TO: 324. INT. KETTlE'S SUITE Kettie hangs up her phone. We see her eyes thinking, evaluating and analyzing what has just transpired. CUT TO: 325. EXT. CASINO - NIGHT We see a Flower Van sitting in a parking lot across from Boyd's Palace. It has silvered windows. CUT TO:

326. INT. FLOWER VAN Two shadowy figures observe the hotel through the windows using special optical devices. FIGURE 1 12th floor. I've got him on thermal. FIGURE 2 Stay on him. CUT TO:

327. THERMAL VISION DEVICE POV we see the hotel giving off all kinds of strange colored patterns. Human figures in the hotel rooms are clear, giving off their own red human silouette patterns.

295 CUT TO: 328. EXT. BOYD'S PALACE - DAWN The red sun rises on the horizon.

CUT TO: 329. INT. BOYD'S CASINO - BARBER SHOP - MORNING Camera PANS to a barber's chair. The Barber removes the bib from Rick. Rick stands up and pays him. For the first time in the film, Hogan wears a sharp set of clothes. And now he's well-groomed and clean shaven. He exits the shop into the lobby. CUT TO: 330. INT. CASINO LOUNGE Rick approaches the bar, spots the Cab Driver, and taps him on the back. DRIVER (turning) Hey ... HOGAN How's it going? DRIVER Tired. People with guns wear me out. HOGAN I owe you one. (To bartender) His drinks are on me. DRIVER All right, now there's my man. HOGAN Have you been working for Boyd long? DRIVER Long enough. HOGAN What do you know about his daughter? DRIVER Kettie? That's one tough lady.

296 CUT TO: 331. ANOTHER ANGLE HOGAN Tell me about it.

DRIVER You better watch it. If she ever lets loose ... (wiggles his eyebrows) HOGAN (smiling) It's like she's sore at men ... all men. DRIVER Yeah, that's her. I hear she really got used by some dudes. Real smooth operators. Hump 'em and dump 'em, you know?

HOGAN That's interesting.

DRIVER Oh, there's more. I hear she was married .•• for a few months. Guy cheated on her, used her for a doormat. Cleaned her out of a small fortune. HOGAN Nice. (Hogan dumps a bill on the bar) DRIVER Hey, thanks for the drink, man. Hogan nods and exits. CUT TO: 332. INT. CASINO Hogan walks toward the hallway and is met by Nick. Nick motions Hogan to follow him down the hallway. Hogan follows. CUT TO:

333. INT. BOYD'S BACK OFFICE Nick delivers Rick to the office. Nick exits and Hogan sits down beside Kettie. '(

297 CUT TO: 334. ANOTHER ANGLE The Magician, a small goateed and mustached man sits at Mr. Boyd's desk under a table lamp. one of his eyes reads the diary. The other is glass and does not move. The Magician takes his cigarette holder and cigarette and takes a drag on it. He speed reads through the diary. Mr. Boyd watches cooly from the side. CUT TO: 335. ANOTHER ANGLE

Rick and Kettie look on in amazement at the Magician's speedy study. CUT TO:

336. ANOTHER ANGLE The Magician finishes and closes the diary. MAGICIAN (gravelly voiced with a slight European accent) Interesting story.

HOGAN And .. ? MAGICIAN A Russian ship ... carrying gold that looks like ammunition ••. a lot of it ..• make you very rich. KETTIE So the NSA was telling the truth. MR. BOYD NSA? KETTIE We talked with some government people. MR. BOYD The Fed?! They know about this?!

·r

. ~ 298 HOGAN They're helping us organize a salvage venture.

MR. BOYD I don't want the Fed getting close to me. Not even close to my daughter. They have a habit of investigating everything.

MAGICIAN Perhaps I should go.

MR. BOYD (signalling Nick on intercom) Nick, cut a check for the Magician.

The Magician rises and exits.

HOGAN How do we know he won't talk to someone?

MR. BOYD (smiles slightly) Because he likes his good eye.

KETTlE (rising with Hogan) I'll arrange a flight to Vancouver.

HOGAN We should talk to the NSA. I'm sure we've been trailed. The Russians are too damn good.

MR. BOYD Wait a minute. You keep the government away from my place. I have investors to protect. Got it?

HOGAN (leaving with Kettie) Right ••.

Rick and Kettie exit. Boyd gets a cold, calculating look on his face. He picks up a phone and dials. CUT TO:

337. INT. CASINO LOBBY

Kettie and Rick head toward the elevator.

. " 299 HOGAN We don't need the diary anymore, Kettie. What do you feel like doing with it?

KETTIE Any suggestions?

HOGAN The people who want it are going to show up sooner or later. Let's give it to them.

They stop at the elevator. Kettie hits the button.

KETTIE (incredulous) You have to be kidding.

HOGAN I'll be back in an hour or so. sit tight in your room.

The elevator door opens.

KETTIE (wary) Where are you going?

HOGAN Trust me.

She enters the elevator and turns back toward Rick. Rick gives her a kiss on the cheek.

KETTIE I like your shirt.

HOGAN I like you, too.

The elevator door closes. Hogan turns and walks through the lobby. The Japanese Man approaches Hogan in his bartending clothes and a spill towel over one arm and a bar tab in his other hand.

JAPANESE MAN Sir ... sir.

HOGAN (turning and stopping) What is it?

. ~ 300 JAPANESE MAN Your bill .•. (touching Hogan)

CUT TO: 338. ANOTHER ANGLE

Under the towel, a gun nudges against Hogan's side.

CUT TO:

339. ANOTHER ANGLE

JAPANESE MAN Come with me. We will go out the back.

HOGAN Fuck you. You're going to kill me.

JAPANESE MAN No. But I will blow off both your balls.

HOGAN Let's go.

The two men walk together down the lobby toward the exit. Camera PANS to one side. We see the Cab Driver at the bar. He watches Hogan and the Japanese Man exit.

CUT TO:

340. INT. CASINO FLOOR

Misha, playing at a craps table, notices our hero exit. Slava appears in the background and nods to Misha. Misha grabs his chips and exits.

CUT TO:

341. EXT. CASINO - BACK PARKING LOT

Rick and the Japanese Man head out to the exit lane. P.. BMW drives up with the Japanese driver and a Japanese woman in the front seat. The Japanese man opens the back door and shoves Rick inside the car. He gets in and the BMW zooms away.

CUT TO:

342. INT. BMW

The Japanese woman turns around and stares at Rick.

301 HOGAN (smiling) How's your baby? She produces her Sten gun and nods as she smiles back. WIPE TO: 343. EXT. RAMADA INN CASINO camera TILTS up and follows the glass elevator up the hotel tower of the Ramada Inn. Hogan and his captors stand inside the elevator. CUT TO: 344. EXT. STREET Slava and Misha watch from a car. Slava looks through a mini-telescope. SLAVA Japanese? MISHA Competition. CUT TO:

345. ANOTHER ANGLE The Cab Driver, sitting in his cab, also watches. He picks up his radio microphone. CUT TO: 346. ANOTHER ANGLE The Floral Van sits alonside the curb. We can't see who's inside. VOICE 1 Find out who's in that hotel. VOICE 2 Right. WIPE TO:

347. INT. LUXURY SUITE The Japanese woman smiles. We hear Hogan moan.

302 CUT TO: 348. ANOTHER ANGLE

Hogan sits in a chair. The Japanese woman rubs his bare feet. She stands up and steps aside.

Yamaga, a Japanese man in late middle age, rolls himself forward in his wheelchair.

YAMAGA Mr. Hogan. I am Tamaichi Yamaga.

HOGAN Mr. Yamaga.

YAMAGA (he smiles and adjusts his glasses) You have a diary.

HOGAN I do. In safe hands.

YAMAGA so far, I have spent a great deal to get this diary. Name your price.

HOGAN 500 thousand.

YAMAGA Then you know what it contains?

HOGAN No. We haven't translated it yet. But you want it so bad, it must be very valuable.

YAMAGA We did not intend to kill you in San Francisco. We only wanted the book.

HOGAN Of course.

YAMAGA My associates do not know the art of subtlety. They come from the red brigade.

HOGAN Oh, I understand now. It's not your fault at all.

303 CUT TO: 349. ANOTHER ANGLE

Yamaga almost explodes, but holds back and turns it into a smile. Hogan slowly and curiously smiles back. YAMAGA Baka!

CUT TO: 350. ANOTHER ANGLE

Yamaga nods. The Japanese man grabs Hogan's neck and puts his finger on a pressure point. Hogan grimaces with pain and groans. Yamaga nods again. The Japanese man releases Hogan and stands back.

CUT TO: 351. ANOTHER ANGLE Hogan recovers.

YAMAGA Know who you are dealing with. I helped build Japan from the rubble of the second world war. I took nothing and turned it into a powerful industry. I control hundreds of millions of dollars. Do not humor me. This diary is worth billions. I will have it, for Japan and myself.

HOGAN I need time to think.

YAMAGA Decide now.

The Japanese Man extracts his knife from his coat and clicks it into position. CUT TO:

352. INT. HALLWAY - OUTSIDE THE'SUITE The Cab Driver lights his cigarette lighter and lifts it up to the ceiling, beneath a fire sprinkler head.

CUT TO:

353. INT. SUITE ·r

304 The ceiling sprinklers activate and spray water across the room. Hogan jumps up and punches the Japanese Man in the groin. The Japanese Man goes down. The door flies off its hinges as the Cab Driver bursts into the room and knocks over the other Japanese man. The Japanese woman reaches for her Sten gun. Hogan pushes her over. The Cab Driver and Hogan dash out the front door as the fire alarm sounds. CUT TO: 354. INT. HALLWAY Hogan and the Cab Driver rush down the hall towards the staircase. WIPE TO: 355. INT. BOYD'S PALACE - HOGAN'S ROOM Hogan, his hair still damp, unloads a large paper bag from a hardware store. He places two cans of pistol powder on the table next to a mouse trap, some wire, tape and some blowtorch striker flints. Someone knocks lightly on the door. Hogan crosses to the door and looks out the peephole. He opens the door. Kettie enters with the diary. Hogan closes the door. KETTlE Hello, sprinkler man. HOGAN (smiling, he takes the diary) Time to say goodbye to the diary. CUT TO:

356. ANOTHER ANGLE Hogan and Kettie cross to the table. Hogan produces a knife, opens the book and carves a square hole in the middle of the pages. KETTlE Not very big on literature, are you? HOGAN Speed reading.

·r

• I) 305 Hogan removes the center of the pages from the book.

KETTIE What are you doing?

Hogan takes a can of pistol powder, opens it and pours it into the hole in the book pages.

HOGAN I'm rewriting a novel.

KETTIE Let's see ... (holds up the mousetrap) They open the book, spring the mousetrap, strike a flint and set off the gunpowder.

HOGAN You're a smart lady.

KETTIE Where on earth did you learn this?

HOGAN (creating the book bomb) Nam. The vc almost got me this way.

KETTIE I'd rather read a good book. Do you ever read books?

HOGAN No, I eat them, Kettie. (he glances at her) The last time I read a good book was when I was six.

KETTIE Which one?

HOGAN Mike Mulligan and his Steam Shovel. (he takes the mousetrap and tinkers with it) What did you like when you were six?

KETTIE (pause) Boys.

CUT TO:

. "

306 357. INT. SLAVA'S HOTEL ROOM

Slava and Misha examine photographic blowups of Boyds' Palace blueprints.

SLAVA (he points to a feature on the photo) Here. Only one elevator to the 12th floor.

MISHA The rooms have no balconies. No way to escape unless they want to fall.

SLAVA We need a key to get onto the 12th floor.

MISHA All the security guards carry one.

SLAVA Good. Tonight we go in. But first, we have a side trip.

CUT TO:

358. INT. HOGAN'S ROOM

Hogan gently slides the book into the middle of the table.

HOGAN All set.

KETTIE (holding the removed page cuttings) I'll flush these.

Hogan and Kettie head out the door. He puts a DO NOT DISTURB sign on the outside doorknob.

HOGAN (smiling at Kettie) We don't want to blow up the maid.

He closes the door behind him.

CUT TO:

359. SUNSET - RAMADA INN CASINO

Establishing shot of the hotel.

307 CUT TO: 360. INT. ANOTHER SUITE

Yamaga sits in his wheelchair with an open briefcase full of money. The Japanese Driver guards the door with a pistol. The Japanese Woman finishes cleaning and wiping her Sten gun at the table. The Japanese Man practices twirling his Nunchako sticks.

CUT TO: 361. ANOTHER ANGLE Nick stands in front of Yamaga. YAMAGA You bring the diary .•. you get one million dollars. NICK (smiling, chewing gum) No problem. Nick exits out the door. The Japanese driver opens and closes the door for him.

CUT TO: 362. INT. RAMADA INN HALLWAY Nick crosses to the elevator and enters it. The elevator doors close. TWo shadowy figures ascend the staircase toward Yamaga's suite. CUT TO: 363. INT. SUITE - ANOTHER ANGLE - THE DOOR We hear a modest knock at the door. The Japanese Driver turns to the door and looks through the peephole. Suddenly, a bullet rips through the door and into the Japanese Driver's forehead. The Driver reels backward and lands on the floor. CUT TO: 364. ANOTHER ANGLE The Japanese thugs react. CUT TO:

308 :365. ANOTHER ANGLE The doorknob is shattered by bullets from a silenced machine pistol. CUT TO: 366. ANOTHER ANGLE The Japanese woman starts to pick up her gun. CUT TO: 367. ANOTHER ANGLE Slava and Misha kick open the door and jump into the suite. Misha rakes the Japanese Woman with his machine pistol and blows her against the wall as she tries to fire her Sten gun. His machine pistol clicks. The clip is empty. Misha reaches for another clip. CUT TO:

368. ANOTHER ANGLE The Japanese Man attacks with his Nunchako sticks. Slava dispatches him with a pistol shot to his chest. The man falls backward and his Nunchako sticks go flying into the wall. CUT TO:

369. ANOTHER ANGLE Yamaga sits in his wheelchair, completely horrified. Slava walks over to him and knocks the money off his lap. He wheels Yamaga out onto the balcony. Misha picks up the briefcase full of money. CUT TO: 370. EXT. HOTEL BALCONY Slava kicks a rusty railing loose and it falls away. We see they are ten stories up. YAMAGA No ...

309 Slava lets Yamaga teeter on the edge of the balcony. SLAVA Tell me the truth and you will live. Where exactly is the diary?

YAMAGA In the Palace Casino's vault. SLAVA (shakes his head) No. I checked.

YAMAGA I am a millionaire. I can give you anything. SLAV A Good. You can give me your life.

Slava pushes the wheelchaired Yamaga backwards over the edge of the balcony.

CUT TO: 371. HIGH ANGLE SHOT - LOOKING DOWN AT CONCRETE Yamaga screams as he falls. His arms flail as he goes down.

Yamaga splats on the concrete. People below run toward him from all directions. Other people scream. CUT TO: 372. CU - SLAVA'S REACTION SHOT He shakes his head. SLAVA Messy.

373. EXT. RAMADA HOTEL STAIRWAY The two Russians burst through the stairway doors and run down the steps. CUT TO: 374. INT. BOYD'S PALACE - 12TH FLOOR HALLWAY Rick stands outside Kettie's suite. Kettie steps out of her room. For the first time, she's wearing a dress and heeled shoes. Her mild pidgeon-toed walk is now apparent but adds to her femininity. '('

310 Although the dress is more businesslike than sexy, it is bright and colorful. She adjusts it, as if uncomfortable wearing it. HOGAN Nice. KETTlE If I get shot, I want to look good. HOGAN We'll be safer in the casino. Too many. witnesses ... and cameras. I talked to NSA. They say we've been covered all the way. KETTlE There's a plane leaving for Vancouver at midnight. I booked us on it. HOGAN All right. We'll stick around until 11. You make attractive bait. KETTlE That makes two of us, Mister. HOGAN Let's have ourselves a night at the tables ... lady. He extends his arm. She takes it. They walk arm in arm toward the elevator. She stumbles once on her heels. CUT TO: 375. INT. SLAVA'S ROOM Slava and Misha unload a suitcase on the bed. We see a bellhop uniform and another uniform of a security guard. They pull smoke and tear gas cannisters out and check them. Then they extract 2 gas masks from the suitcase. They check their silenced pistols, 2 plastique charges and a small tool kit. SLAVA It must be on the 12th floor. Room 121 or 122. We need the elevator key. CUT TO:

'( 311 376. INT. OVERHEAD GALLERY Mr. Boyd struts down the catwalk, watching the action on the floor. Camera FOLLOWS as he walks. He stops. Mitch Williams, the National Security Council advisor, looms into view.

'(

' d 312 MR. BOYD (unexcited) I'm overjoyed to cooperate with our government. WILLIAMS Somebody just shot up the Ramada and killed four people. We'd like to know what you know.

MR. BOYD What would I know about that? WILLIAMS One of your boys was seen leaving the place just before it got hit. MR. BOYD (raising an eyebrow) Who? CUT TO: 377. INT. MAIN POWER ROOM

Misha, dressed as a bellhop, walks into the power room and crosses to the main power box for the hotel lights. He extracts a plastique bomb from his pocket and sticks it on the side of the box. He pulls a friction pin and ignites the fuse. CUT TO: 378. INT. 12TH FLOOR HALLWAY Nick steps out of the elevator and heads for Hogan's room. He looks around to make sure nobody's watching. CUT TO: 379. INT. CASINO HALLWAY A security guard watches the area. Misha walks up and taps him on the shoulder. The guard turns to him. Misha says something. The guard nods. They walk around a corner. CUT TO:

380. INT. SLAVA'S ROOM Misha escorts the guard into the room. MISHA It's right here in the bathroom •

. ,, 313 The guard enters the bathroom.

GUARD I don't see any drugs.

Misha pulls out his pistol and shoots the guard in the back. The guard falls dead.

CUT TO: 381. INT. GALLERY - BOYD AND WILLIAMS

MR. BOYD (on walkie-talkie) Where is he?

RADIO VOICE I don't know, sir.

MR. BOYD Start looking.

RADIO VOICE Yes, sir.

MR. BOYD (to Williams) Nick's my best man .•. he's a good guy. He's after the diary.

WILLIAMS And where is that?

MR. BOYD Let's go ask my guests.

CUT TO:

382. INT. CASINO - BLACKJACK TABLE

Rick and Kettie sit at the blackjack table betting on their hands. Mr. Boyd and Williams approach.

RICK Look what's coming.

Mr. Boyd and Williams arrive.

MR. BOYD Where's the diary?

KETTlE Why?

314 MR. BOYD Nick sold you out to the Japanese. RICK It's upstairs in my room. CUT TO: 383. INT. ELEVATOR Slava and Misha enter the elevator. The doors close. Slava, dressed as a security guard, punches the button to the 12th floor. Misha inserts the guard's key into the lock. CUT TO: 384. INT. HOGAN'S ROOM

Nick crosses to the table and turns on a light. He sees the diary sitting on the table. He picks it up and smiles. NICK Easy money. Nick exits holding the diary in his hand. CUT TO: 385. INT. CASINO FLOOR As Rick and Kettie get up from the blackjack table, a muffled bang shakes the room. The power goes off and the lights go black. The casino sound changes to the sound of irritated gamblers. CUT TO: 386. INT. 12TH FLOOR HALLWAY The lights go out as Nick steps into the hallway. He turns and looks toward the elevator. CUT TO: 387. ANOTHER ANGLE The two Russians, surprised, stand there staring at Nick. Nick, equally surprised, stares back at them. Nick goes for his gun. The Russians fumble for theirs. CUT TO:

315 388. ANOTHER ANGLE

The two parties open fire on each other. A bullet Nicks Misha on the arm. Slava fires once and hits the diary in Nick's hand.

There is a sudden flash of light as the diary EXPLODES.

CUT TO:

389. INT. CASINO FLOOR

Everyone hears the explosion from upstairs.

RICK I think somebody's on the 12th floor.

WILLIAMS (on walkie-talkie) Move in on the 12th floor!

CUT TO:

390. INT. 12TH FLOOR HALLWAY

Nick lies dead on the floor. Misha holds his bleeding arm. Slava, rattled, rises to his feet and helps Misha stand up in the smoke-filled room. Both are dusted with soot.

MISHA Did you see that, Colonel? The diary exploded!

SLAVA Let's move.

Slava opens the bag and extracts the plastique charge.

CUT TO:

391. EXT. CASINO

People stream out of the stricken Casino as fire trucks and police vehicles roar up.

CUT TO:

392. ANOTHER ANGLE

Rick and Kettie stand outside with the milling crowd. The Floral Van drives up to the entrance. Two shadowy figures leap out and dash into the Casino.

316 393. INT. CASINO

WILLIAMS The power's out. How can I get men up there? MR. BOYD (on walkie-talkie) There's a stairway. But the door on the 12th is made of steel. It unlocks by remote control. CUT TO: 394. INT. 12TH FLOOR STAIRWAY DOOR The door blows off its hinges and clangs down the stairway. Slava and Misha, wearing gas masks and carrying their bag, rush down the stairs at breakneck speed. CUT TO: 395. INT. 4TH FLOOR STAIRWAY Four armed security guards, with pistols and pump shotguns drawn, rush up the stairway. CUT TO: 396. INT. 6TH FLOOR STIARWAY Misha stops and looks down the stairwell hole. He pulls out a tear gas cannister and rolls it down the stairs. CUT TO: 397. ANOTHER ANGLE The guards start to climb another set of stairs. Suddenly, a tear gas cannister bounces off the wall in front of them. Smoke and gas spew everywhere. The guards stop, hacking and groping as they try to get out of the stairway. We see and hear the flashes from the Russian's silenced pistols coming down through the smoke in the stairway. CUT TO:

317 398. INT. CASINO It's a scene of pandemonium in the dim light. Firemen, police, a horde of casino and hotel patrons, guards, bellhops and other hotel personnel mill around trying to find their way in and out. CUT TO: 399. EXT. CASINO Rick, Kettie and Williams stand outside among the milling crowd. WILLIAMS Looks like we didn't need you as bait after all. KETTlE That's reassuring. WILLIAMS It smacks of the Russians. We might nail them this time. HOGAN Might? What happens if they get away?

WILLIAMS They won't get away.

KETTlE You didn't answer his question. WILLIAMS Look, Hogan. Nobody outsmarts my department. Camera PANS behind Williams. Slava and Misha stand behind Williams in firefighter's uniforms. Slava pulls out a cigarette and taps Williams on the shoulder. Our heros look on. SLAVA Excuse me. May I have a light? WILLIAMS (searching) Uh ..• sure. (he finds his lighter and lights Slava's cigarette)

Slava takes a drag .

. ,, 318 SLAVA Thank you. CUT TO: 400. ANOTHER ANGLE Slava takes a good look at Rick and Kettie. He winks at them both. Misha and Slava walk back toward some fire trucks. CUT TO: 401. ANOTHER ANGLE Something bothers Rick but we see even he's not sure what it is. KETTlE What a nice man. CUT TO: 402. EXT. TAHOE AIRPORT - NIGHT An Air Canada jet roars down the runway and takes off. Camera PANS with it then stops on Slava, now dressed in normal clothes, watching the jet climb into the sky. CUT TO: 403. INT. AIRLINER Rick and Kettie sit together, asleep. FADE OUT: FADE IN: 404. EXT. VANCOUVER - DAWN Establishing shot. The sun rises over the city. It's a beautiful skyline. CUT TO: 405. EXT. DOCK - BERGEN SALVAGE PIER Camera TRUCKS with a car as it drives down the pier. The car stops. Rick and Kettie get out and walk the rest of the way. CUT TO:

' ~ 319 406. ANOTHER ANGLE

We see crewmen loading materials onto the large salvage ship ODEN. The vessel is a beehive of activity. THOR BERGEN, wearing wire-rimmed scientist glasses, sweater, pants brown boots, oversees the loading process.

Thor sees Rick and Kettie approach and turns to meet them.

CUT TO:

407. ANOTHER ANGLE

Rick extends his hand to Thor. Thor shakes it.

HOGAN You're Thor?

BERGEN That is •.• correct.

HOGAN Rick Hogan. This is Kettie Boyd.

BERGEN Ah ••• this is good. (He turns to the Oden's bridge and shouts) Dagmar!

Dagmar appears on the railing. She's also bespectacled and an effiecient-looking type.

DAGMAR (frowning) Ja?

BERGEN Our guests. Please take them to their quarters until I'm ready.

She nods and waves Rick and Kettie up the gangplank.

BERGEN (To Hogan) She's our ship's doctor. (To Dagmar) Be nice to them!

Rick and Kettie climb the gangplank.

CUT TO:

. ~ 320 408. EXT. VANCOUVER WATERFRONT Slava watches the Oden's loading operation from a distance. He lowers his field glasses. SLAVA our mole is on board. MISHA Looks like they sail soon. SLAVA It won't be long before they reach the Tsushima straits. Let's get back to Vladivostok. CUT TO: 409. INT. HOGAN'S CABIN Dagmar opens the door and lets Hogan and Kettie in. We see two bunks, a sink, a side compartemt with a shower and a head.

DAGMAR There will be a meeting in the wardroom at four o'clock. Someone will come and get you. (To Kettie) If you want separate quarters .•. you can sleep in my cabin. Dagmar exits and closes the door KETTlE Do you want me to sleep in her cabin? HOGAN You've got to be kidding. KETTlE I'd rather be with you, too. CUT TO: 410. ANOTHER ANGLE Hogan and Kettie look like they're about to kiss each other. Suddenly, we hear a flush. Williams steps out of the head. WILLIAMS Glad to see you made it. CUT TO:

321 HOGAN You again. WILLIAMS Just thought I'd drop in and let you know the KGB got away. Killed four hotel guards, wounded another. Karate chopped a couple firemen and took their clothes. We still don't know what they look like. (he lights a cigarette) HOGAN Last night. Those two firemen. The one that asked you for a light. WILLIAMS You think it was them? HOGAN It was the way he asked. KETTlE You're right. He was too polite for an American. WILLIAMS I'm sure they're long gone. The state department has cleared you with the Japanese. Believe me, they won't come near you. You're officially recovering some lost germ warfare ammunition. HOGAN Are you going be watching us? WILLIAMS We'd like to. But if there's too much activity in the area, the Japanese will get wise. If there's trouble, head for the Korean side of the strait. We might be able to help you there. · (he begins to exit) Good luck. (he exits) WIPE TO: 411. INT. WARDROOM - LATER Thor, Dagmar, Rick and Kettie seat themselves at a large rectangular table. various other crewmembers are also there. It's an international-looking group. Thor activates a big-screen TV.

322 A computer generated cutaway image of the cruiser Admiral Nakhimov fills the screen.

THOR The Admiral Nakhimov. 8,500 tons displacement. It's been underwater for nearly 90 years. We now know the gold is in the magazines.

The Nakhimov's magazine areas flash on the screen.

(more) There are four of them containing solid gold shells worth more than 1 billion dollars.

The people in the room react instantly with whistles and murmurs of amazement.

The screen shows the Oden above the Nakhimov. The Oden lowers a divers habitat next to the Nakhimov.

(more) When we locate the wreck, we will lower a diver's habitat. Two teams of divers will live and work from there. Since it's at a depth of 300 feet, the divers will breathe a heliox mixture.

The screen flashes in other areas of the wreck.

(more) We will use torches to cut through the hull and then remove the gold with a basket cable line. It will be hard work.

The screen goes blank. He turns on the lights.

(more) We sail for the Tsushima straits in one hour.

CUT TO:

412. EXT. ODEN - NIGHT

She raises her anchor. CUT TO:

413. EXT. OCEAN - NIGHT The Oden steams through the sea at full power.

CUT TO:

323 414. INT. ODEN - BRIDGE

Thor, Kettie and Rick converse in the wheelhouse. A sinister-looking bearded ARAB MAN handles the wheel.

THOR I designed this ship myself. There is not another like it. (he points to the arab man) This is Mohammed, our helmsman.

Mohammed nods.

Thor and our heroes cross to the radar and navigation plot table. A sinister-looking ENGLISHMAN sits at the radar screen. The radar casts weird green light on him.

THOR This is Felix, our navigator and radarman. (to Hogan and Kettie) Follow me.

The trio exit the bridge.

CUT TO:

415. INT. PASSAGEWAY - FOLLOW SHOT

The trio stop at the sick bay.

THOR Dagmar's operating room.

The trio continue their walk.

CUT TO:

416. ANOTHER ANGLE

The trio stop at a compartment with a thick steel hatch.

THOR Weapons room.

CUT TO:

417. INT. GALLEY AND MESS ROOM

The trio walk through the Galley. A sinister-looking CHEF cuts slabs of meat with a butcher hatchet.

324 THOR The galley .•• this is Bono, our cook. Bono nods and whacks another slab of meat in half.

CUT TO: 418. INT. DIVER'S QUARTERS The trio stop in the diver's quarters. 8 men sit around playing cards, checkers or watch a video tape. The overhead lights cast sinister shadows upon them. THOR Our divers. Each one hand-picked and a specialist. You're looking at 150 years of top experience. The DIVEMASTER, a frenchman, enters. He looks like a villainous Jacques Cousteau. PAUL Allo. THOR This is Paul, our divemaster.

The trio move on. CUT TO:

419. INT. CARGO HOLD The trio walk past the diver's underwater habitat. THOR The underwater work station ... They pass scuba gear, wet suits, racks or air tanks and and other equipment. Camera FOLLOWS as they pass SPU's, shark sticks, spear guns, underwater torches, a small two-man submersible, an ROV and a recompression chamber. THOR That's an ROV ... remotely operated vehicle. Contains a TV camera. We control it from the surface. Thor takes them to another device and points it out .

. ,) 325 THOR This is a towed sonar array. It gives us 3-D sonic pictures of the sea bottom. The trio exit the cargo hold.

CUT TO: 420. INT. CREW'S SECTION The trio pass the crew's cabins and arrive in the crew lounge. Many of the Norwegian crewmen read, throw darts or sleep where they sit. THOR My crew. A huge NORWEGIAN MAN stands up.

LARS Sir?

THOR Just touring, Lars. (to Hogan) Lars is the first officer. He rides herd on the men. The trio exit. CUT TO: 421. INT. ENGINE ROOM The trio enter the Engine room. The two big diesel engines roar. THOR Two Mercedes-Benz Marine diesels. 54,000 horsepower. We're making 24 knots. HOGAN Fast. KETTIE What if we run into bad guys? THOR Like ••. pirates?

' f} 326 KETTlE Yes. THOR We have weapons. We have also some other surprises which I have built into the Oden. If someone tries to board us, it will cost them. CUT TO: 422. DOUBLE EXPOSURE The Oden sails across the Pacific as a clock ticks. CUT TO: 423. MORE DOUBLE EXPOSURES We see a map of Japan. camera ZOOMS in to the Tsushima straits. The Oden tows the sonar array astern. Thor checks the sonar graphs. He shakes his head. Bono fiendishly cleaves another slab of meat in two with his butcher hatchet. Paul grins fiendishly in the dark. Felix looks over his shoulder in a paranoid way. Mohammed's eyes glance back and forth in the dark. We see the sonar array being towed again. Thor checks his sonar graphs. He nods in a positive way.

We see divers descending a ladder into the ocean. An ROV is lowered, along with its tether, into the sea. We see the ROV descending through the murky water. It arrives over a wreck and turns on its lights. It turns and maneuvers over the sunken vessel. Divers follow it. CUT TO: 424. INT. ODEN'S DIVE CONTROL ROOM Rick, Kettie, Thor and the divers watch a video tape of the dive as seen by the ROV. The wreck slowly passes by the camera. Suddenly, the sternplate of the wreck looms into view. Its corroded letters read ADMIRAL NAKHIMOV. The divers cheer. THOR confirmation! We lower the diver's work station tomorrow morning. Paul. You will dive into the cruiser. I want a shell •

. t' 327 CUT TO: 425. ANOTHER ANGLE Rick and Kettie smile at each other. CUT TO: 426. EXT. ODEN - NIGHT The Oden lies anchored in the straits. A periscope rises in the foreground, spins and looks at the Oden. Another periscope, from the same sub, rises with a strange-looking electronic scoop in place of a scope. The electronic scoop pauses and then lowers behind the regular periscope. In the background, one of the Oden's portholes begins blinking a very small, faint light. The blinking stops and the periscope lowers beneath the waves. CUT TO: 427. INT. ODEN - THE RADIO SHACK Thor enters. We see a radio operator at the controls of some sophisticated communications gear. THOR What is it? OPERATOR Someone's radar just painted us. THOR For how long? OPERATOR Five seconds. And it was close. THOR (activating intercom) Captain to lookouts. Do you see any boats? INTERCOM VOICE Nothing. 2ND INTERCOM VOICE Nothing on infrared either.

328 OPERATOR I'll display their radar signature. The operator flips a button. A zig-zag pattern appears on his monitor. THOR strange. OPERATOR I saw this in the navy. It's a snooper dish from a Soviet sub. THOR Did any radios transmit from the Oden? OPERATOR Not from the Oden. But I picked up a coded microburst being sent to us. THOR As I feared ••. they have someone among us. (he activates the intecom) Lars. LARS VOICE Yes, Captain? THOR We must talk. CUT TO:

428. INT. HOGAN'S CABIN Hogan and Kettie share a long kiss. Kettie responds hotly. Hogan slips his hands down her neck onto her blouse. He starts to unbutton the top buttons. She gently pulls his hands away and draws back. KETTlE Hold it. HOGAN What's wrong? KETTlE Not here. HOGAN Where th ?(frustrated) en.

329 KETTIE We should be someplace romantic for this. HOGAN (he rolls his eyes) You mean I'm going to have to wait? KETTlE I don't want to just have sex with you. HOGAN (forcing himself to listen) What do you want?

KETTlE I want to make love. In a nice place. HOGAN (swallowing his anger) I completely understand.

KETTIE You do?

CUT TO: 429. EXT. ODEN - DAY

The crewmen guide lines as the Oden's crane lowers the diver's work station into the sea.

CUT TO: 430. EXT. UNDERWATER

Divers splash into the water and descend toward the wreck.

CUT TO: 431. EXT. ODEN Thor, Dagmar, Kettie and Rick watch from the railing.

CUT TO: 432. EXT. UNDERWATER - THE WRECK Paul and two other divers arrive at the wreck. Paul turns on his flashlight and swims above the cruiser's deck. Camera FOLLOWS. He finds a hatchway astride from a gun turret. It's covered by debris. He pulls away some of the matter. Two divers give him a tether line.

330 Paul hooks it to his belt and goes into the hatchway. CUT TO: 433. INT. WRECK - A PASSAGEWAY Paul swims down the weird passageway. He scares away fish and kicks up mud and algae. He checks his bearings momentarily and dives down another hatchway. CUT TO: 434. ANOTHER ANGLE - A LADDER CUT TO: Paul pauses as he scans the new passageway. He pans his flashlight and reveals a human skull resting on the deck. He swims farther into the passageway and arrives at an undogged hatch. He pulls on the hatch and it opens easily. Surprised, Paul swims into the magazine. CUT TO: 435. INT. MAGAZINE Paul shines his light on the interior. Debris litters the compartment. Paul swims closer to the magazine ammo rack. CUT TO:

436. ANOTHER ANGLE Paul brushes away the sediment. He reveals a gold­ colored shell. He tries to dislodge it from the rack. CUT TO: 437. EXT. WRECK An assistant diver tries to look through a porthole. CUT TO: 438. INT. ODEN - LATER Paul looks out the porthole from inside the recompression chamber. He smiles and waves. Thor holds the golden shell and smiles back. The crew applauds. CUT TO:

331 439. INT. ODEN - SICK BAY

We see the outline of the golden shell under the screen of a fluoroscope. We hear a click and the screen turns dark.

CUT TO: 440. ANOTHER ANGLE

DAGMAR It's definitely solid metal. THOR Lars .•. the kit. Lars steps forward with a satchel and opens it. He extracts a vial of acid and an eyedropper from the bag. Thor takes the vial, opens it and drips a drop of acid onto the shell. KETTlE What's supposed to happen?

THOR Exactly what you see •.• nothing. (he smiles) Congratulations ••• you are millionaires.

Rick can't believe it. HOGAN Unreal •.• KETTlE Something wrong? HOGAN (engrossed by the gold) No. It's a dream come true. CUT TO: 441. CU - HOGAN'S FACE For the first time, we see the dark side of Hogan in his face as he virtually worships the golden shell with his eyes. CUT TO:

332 442. CU - KETTlE'S FACE Kettie looks up from the shell and notices Hogan's expression. We see a flash of worry and fear in her face. She knows he's oblivious to her. She turns and walks out.

CUT TO:

443. INT. ODEN PASSAGEWAY - NIGHT Kettie, clearly unhappy, returns to Hogan's cabin and shuts the door.

. ~ 333 CUT TO: 444. ANOTHER ANGLE Mohammed, looking over his shoulder, walks down the passageway and turns the corner. Felix descends the ladder at the end of the corridor and walks toward the camera. He looks suspiciously to one side then passes out of the frame. Bono carries a sack of vegetables into the frame and walks to the end of the ladder. He looks back as he climbs the ladder out of the frame. Paul exits the forward head and walks down the corridor holding his underwater flashlight. He exits the frame. Lars appears, walking with caution as if on the trail of someone. Dagmar steps around the corner, unaware of Lars. He startles her. She holds a doctor's penlight in her hand. She puts it in her smock pocket. DAGMAR Lars ... you are very scary. She darts her eyes and exits the frame. Lars looks back at her and crinkles his eyebrows. CUT TO: 445. EXT. ODEN - NIGHT The periscope and the snooper dish pop up once again. The snooper dish hesitates and then dips below the surface. A faint light signals from one of the Oden's portholes. The periscope dives. CUT TO: 446. INT. ODEN - THE RADIO SHACK Thor and the Radio operator look at each other. CUT TO: 447. EXT. ODEN- THE NEXT DAY Divers go into the sea. DISSOLVE TO:

448. ANOTHER ANGLE

. ~

334 Gold shells are raised out of the sea on a cable and basket system.

DISSOLVE TO: 449. EXT. UNDERWATER

Divers cut a hole in the wreck's hull using cutting torches. DISSOLVE TO: 450. INT. ODEN - CARGO HOLD

The gold begins to stack up in a modest pile of shells. DISSOLVE TO: 451. EXT. UNDERWATER Divers torch a hole in another part of the Nakhimov's hull.

DISSOLVE TO: 452. INT. ODEN - CARGO HOLD Crewmen stack the gold. The cache of precious metal becomes huge. DISSOLVE TO: 453. EXT. ODEN - THE FINAL DAY Crewmen man guidelines as the Oden's crane lifts the diver's work station out of the ocean and places it on deck. DISSOLVE TO: 454. ANOTHER ANGLE - THE FANTAIL Bono carries a bag of garbage to the railing and dumps it over the side into the sea. CUT TO: 455. EXT. UNDERWATER

The bag slowly goes down through the water. We hear an acoustic device chirping from inside the bag. CUT TO:

335 456. ANOTHER ANGLE 200 feet down, a Soviet submarine heads away from the area.

CUT TO: 457. INT. SUBMARINE Captain Atarov listens to the acoustic chirp on his hydrophones. ATAROV That's it. Notify Slava to move in. And let's get out of here. CUT TO: 458. EXT. SEA - NIGHT We see the Q-ship URS Soyuz churning through the waves. We hear ominous Prokofiev-style music. On the stern, her crewmen lower a Soviet flag and raise an American flag. The nameplate Soyuz is replaced by a new nameplate reading LIBERTY. CUT TO: 459. INT. SOYUZ - BRIDGE Slava examines a rare postage stamp with a magnifying glass. SLAVA Superb. CUT TO: 460. INT. ODEN - THOR'S CABIN Thor and Lars meet. THOR Pass the word to those you trust. Be on alert. There may be action soon. Watch for a sabotuer. Lars exits. CUT TO: 461. INT. GALLEY - NIGHT

336 Bono opens a cabinet. He reveals several flour sacks. Carefully, he slides the ones in front over to the side. He looks and finds one particular bag. He extracts the bag from the cabinet and closes it.

He hefts the bag over to the galley table and pours the bag's white powdered contents into a large mixing bowl.

CUT TO: 462. INT. SOYUZ - BRIDGE Captain Markov addresses Slava.

MARKOV Colonel. The Oden is officially rated at 24 knots. We'll never catch them.

SLAVA Our mole will slow them down. He's dying of cancer. He'll do anything it takes.

MARKOV A suicide attack?

SLAVA If necessary. We've put money aside for his children. He has their future in mind.

MARKOV on a ship like that, how could he possibly smuggle weapons on board? SLAVA RDX. A white powdered version of plastique. You smuggle it on board in a sack of flour and hope that nobody tastes it. CUT TO: 463. INT. ODEN - THE GALLEY Bono empties one white brick of RDX out of a bread pan. He takes the brick and puts it in a sack and stuffs the sack into his apron pocket. He slices a piece of chocolate cake and puts it on a paper plate with a fork. CUT TO:

464. INT. ODEN - PASSAGEWAY

337 Bono walks down the passageway. Lars smiles.

LARS (noticing the piece of cake) Always eating, eh Bono? BONO (smiles) Mmmmmm. CUT TO: 465. INT. ODEN - LOWER PASSAGEWAY Bono descends the ladder and looks around the lower deck. He steps to one side and opens a hatchway. CUT TO: 466. INT. PORT PROPELLER SHAFT COMPARTMENT A Norwegian MACHINIST oils the still propeller shaft with his oil can. He looks up and sees Bono. Bono smiles and offers him the cake. BONO Thor wants everyone on the graveyard shift to have a treat. MACHINIST (He smiles) I love chocolate. CUT TO: 467. ANOTHER ANGLE The machinist takes the cake and starts eating it. Bono whips out his butcher hatchet and takes a swing at the machinist. CUT TO: 468. ANOTHER ANGLE The machinist looks up just in time and ducks. The hatchet clinks against the shaft. CUT TO: 469. ANOTHER ANGLE

338 The machinist whips out a switchblade and flips it open. Bono grins, raises his hatchet and closes in. He motions the machinist to do his worst. BONO Come on. Stab me.

HELP! HELP~shoutin~CHINIST

He throws his knife at the onrushing Bono. The knife hits Bono square in his fat belly. Bono groans with pain and swings his hatchet down at the machinist. CUT TO: 470. INT. PASSAGEWAY Lars and several crewmen, heavily armed, dash down the passageway and head toward the ladder.

CUT TO: 471. INT. PROPELLER SHAFT COMPARTMENT

Bono, still bleeding with the knife in his belly, closes the hatch and dogs it shut.

CUT TO: 472. EXT. HATCH Lars and the crewmen arrive at the hatch and try to open it. Lars crosses to the intercom. CUT TO: 473. INT. PROPELLER SHAFT COMPARTMENT Bono crams the block of RDX against the shaft and a main bearing and holds it in place with his body. He sticks what appears to be a pen into the RDX and presses the the pen's button. There is a bright flash and the room explodes. CUT TO: 474. INT. PASSAGEWAY The blast shakes the ship. Thor rushes down the passageway. Rick and Kettie dash out of thier cabin .

• d 339 CUT TO: 475. INT. LOWER PASSAGEWAY Injured crewmen help each other to their feet. Lars, bleeding from the head, looks into the open, blasted hatchway. Thor, Rick and Kettie arrive. THOR Lars. Are you okay?

LARS (nods) Bono blew up the shaft and himself. THOR Damn. We're down to half speed. Get to the sick bay. CUT TO: 476. ANOTHER ANGLE THOR Tell Paul to get a diver over the side. We will dump the port prop and get the hell out of here. WIPE TO: 477. EXT. OCEAN - DAWN The Oden rumbles through the ocean at half her normal speed. We hear exciting music on the soundtrack. CUT TO: 478. INT. ODEN - RADIO SHACK The Radio Operator taps the key and sends out a signal in code. He listens to a coded reply and writes it down. The Radio Operator turns to Thor, Kettie and Rick. RADIO OPERATOR The NSA says proceed to Pusan. They're diverting an orion to cover us. CUT TO: 479. INT. SOYUZ - BRIDGE

. ~ 340 MISHA (pointing) A ship on the horizon. Moving slow. (looking through binoculars) It's the Oden. SLAVA Stand by for action. Ready the boarding party. Begin jamming.

CUT TO: 480. INT. ODEN - BRIDGE Thor, Kettie, Rick, Lars, Mohammed and Felix stand on the bridge. FELIX Radar contact. LOOKOUT (entering) A ship on the horizon! THOR Lars. Arm the crew. Emergency plan 1. Lars and the Lookout exit. RADIO OPERATOR (entering) We're being jammed. THOR Alternate your frequencies. Send a message that we're under attack. Keep trying until you break through. The Radio Operator exits. HOGAN (looking through binoculars) My god. CUT TO:

481. WHAT HOGAN SEES The Soyuz punches through the waves in a beeline for the Oden. CUT TO:

341 482. INT. ODEN - BRIDGE

THOR (To Rick and Kettie) I suggest you go below. The Oden has a double hull. You'll have a better chance down there.

KETTIE Why does it always have to end up like this? Everybody killing each other over material possessions.

RICK Don't knock it. It's the American way.

CUT TO:

483. EXT. SOYUZ - ON DECK

Armed commandos take up positions behind hull plates. They ready RPG's, Kalashnikov automatic rifles, hand grenades and grenade guns.

Others set up heavy machine guns on the bow, stern and bridge.

CUT TO:

484. EXT. OCEAN

The Soyuz sends a blinker signal to the Oden.

CUT TO:

485. INT. ODEN - BRIDGE

Thor watches through binoculars.

THOR surrender •.. we ••. want .•• only ..• the ••• gold. Your ... lives ..• will ..• be .•• spared.

KETTIE Do you honestly think they're going to let us live?

HOGAN With their track record?!

Hogan picks up an aldis lamp and starts signalling.

342 CUT TO: 486. INT. SOYUZ - BRIDGE Misha watches through binoculars. SLAVA What do they say?

MISHA Go •.. screw .•• yourself .••

SLAVA Open fire at 500 yards. Don't hit the waterline.

CUT TO: 487. INT. ODEN- WEAPONS ROOM Lars and his helpers pass out weapons. The crewmen don flakjackets, ammo belts, pistol belts and M-16's. Lars passes out two mortars and several packs of mortar shells. Lars and his two helpers don flakjackets and pistol belts. Each man picks up a sackful of rockets and shoulders a worn Korean war-vintage bazooka. CUT TO:

488. INT. ODEN - BELOW DECK Hogan takes Kettie down to the cargo hold. He points to the scuba gear.

HOGAN Put on a suit. You can jump on the far side where the Russians won't see you. KETTlE No. HOGAN G'bye baby.

KETTlE Do you love me? HOGAN No. Now get going. KETTlE I told you not to bullshit me. Do you love me?

343 HOGAN (pause, moment of truth) Yes, I love you.

KETTlE Then I'm staying with you. Wherever you go, I'll go. Where you die, I'll die. (she means it)

HOGAN How did I get this lucky?

CUT TO: 489. EXT. SOYUZ

The rocketeers on the Soyuz fire their RPG's.

CUT TO:

490. EXT. ODEN

Several rockets burst above the Oden. A few explode in the sea.

CUT TO:

491. INT. ODEN - BRIDGE

THOR (on phone) Hold your fire. Let them get closer.

CUT TO:

492. EXT. ODEN - MAIN DECK

Several Deck hatches slide open.

CUT TO:

493. INT. HATCH

A mortar crew cranks their mortar up. One man hangs a shell in the tube.

CUT TO:

494. INT. ODEN - BRIDGE

Thor watches carefully.

344 THOR (on phone) Range 450 yards.

CUT TO: 495. INT. SOYUZ - BRIDGE

SLAVA (on phone) Fire!

CUT TO:

496. EXT. SOYUZ

The rocketeers launch another volley of rockets.

CUT TO:

497. EXT. ODEN

Two rockets hit the Oden's deck, starting fires. The other rockets explode in the water and burst in the air.

CUT TO:

498. INT. ODEN'S BRIDGE

THOR (on phone) Fire!

CUT TO:

499. INT. HATCH 1

The first mortar crew fires.

CUT TO:

500. INT. HATCH 2

The second mortar crew fires.

CUT TO:

501. EXT. SOYUZ

A mortar shell explodes in the sea. Another mortar shell hits the bow, causing smoke and fire.

CUT TO:

345 502. INT. SOYUZ - BRIDGE

SLAVA (on phone) Damage control to the bow. All commandos open fire. Kill anything that moves.

CUT TO:

503. EXT. SOYUZ

The commandos fire their Kalashnikovs.

CUT TO:

504. ANOTHER ANGLE

A machine gun opens fire.

Another machine gun crew fires their weapon.

CUT TO:

505. INT. ODEN - BRIDGE

Thor ducks. Bullets rip through the bridge windows.

THOR (lying on the deck, talking on the phone) Fire at will!

CUT TO:

506. EXT. ODEN

Bullets rake the superstructure and pepper the hull.

CUT TO:

507. EXT. OCEAN

The Soyuz closes alongside the Oden and hammers away at the salvage ship.

CUT TO:

508. EXT. SOYUZ

soviet rocketeers fire another Salvo of rockets at the Oden •

• t} 346 CUT TO: 509. EXT. ODEN

This time, the Soviet rocket salvo hits the Oden with devastating force. The bridge erupts into smoke, fire and flying wreckage. The mast snaps like a twig and crashes into the sea. The crane whipsaws and falls into a twisted heap. The anchor flies into the sky and goes hurtling into the ocean. CUT TO: 510. ANOTHER ANGLE suddenly, 3 portholes pop open. The tips of 3 bazookas emerge from the portholes. One after another, the 3 bazookas spit flaming rockets. CUT TO: 511. EXT. SOYUZ

One rocket hits a machine gun crew. The blast sends the gun and the crew flying. CUT TO:

512. ANOTHER ANGLE Another rocket explodes in the middle of some commandos. several Russians fall to the deck. CUT TO: 513. INT. SOYUZ - THE BRIDGE - LOOKING TOWARD THE ODEN Slava and Misha turn to see a rocket heading straight for their window. They hit the deck. The rocket hits below the window and explodes. CUT TO:

514. EXT. ODEN The bazookas retract into the portholes and disappear as bullets shower the Oden's hull. CUT TO:

515. INT. ODEN - BRIDGE

' {~ 347 Thor lies badly wounded inside the wreckage of the bridge. Kettie crawls through the hatch, grabs Thor by the collar and drags him to safety.

CUT TO: 516. EXT. OCEAN The two ships draw closer. CUT TO: 517. INT. ODEN Camera FOLLOWS Hogan as he rushes down the passageway past dead and wounded Norwegians. He picks up an M-16 and a pistol. Lars and his helpers rush the other way with their bozookas. CUT TO: 518. INT. DECK HATCH Hogan arrives at a deck hatch mortar. The crew lies dead on the deck. He cranks the mortar almost vertical. Kettie appears and picks up a mortar shell. She hands it to Rick. Rick drops it into the mortar and fires. She hands him another shell. Rick fires it again. CUT TO: 519. EXT. OCEAN Both ships are on fire in many places. But the Oden is taking a terrible beating. Mortar shells drop on and around the Soyuz. CUT TO: 520. EXT. ODEN - THE STERN 3 portholes open and 3 bazookas pop out again. They fire rockets. CUT TO: 5 21. EXT. SOYUZ The 3 rockets hit the Soyuz. More smoke erupts. But this time, the Soviet rocketeers are ready. Four of them pop up with their RPG's and launch rockets at the Oden's stern.

348 CUT TO: 522. EXT. ODEN - STERN

The RPG rockets hit the stern and explode. Lars and his men have had it.

CUT TO: 523. EXT. OCEAN - ODEN AND SOYUZ

The Soyuz draws close alongside the Oden. Heavy firing continues.

CUT TO: 524. INT. ODEN - SICK BAY Thor, dying, whispers something in Mohammed's ear. The arab nods and exits.

CUT TO: 525. INT. SOYUZ - BRIDGE

Slava and Misha, their clothes and faces slightly sooty from the blast, watch the battle. Slava picks up the phone.

SLAVA Launch grapples and board the enemy ship. CUT TO: 526. EXT. SOYUZ - LOOKING TOWARD THE ODEN Several commandos with grapple launchers and coils of rope kneel behind the gunwhales. They fire their launchers. CUT TO: 527. ANOTHER ANGLE Several grappling hooks, each trailing a rope, hurtle through the air and come down. CUT TO:

528. EXT. ODEN The hooks land on the Oden's railing and catch. The ropes are pulled taut.

349 CUT TO: 529. EXT. - THE TWO SHIPS

The Oden's side slams against the Soyuz. The two ships lock together. A commando jumps onto the Oden.

CUT TO: 530. INT. ODEN - BRIDGE

The commando climbs into the bridge. Then he looks. He finds the engine throttles and shuts them off. We hear a gunshot. The commando falls dead. Mohammed crawls through the bridge and up to the window. Mohammed peers through the smashed window. Commandos start climbing the Oden's railing. Mohammed opens a steel box. Camera FOLLOWS his hand to a main electrical disconnect switch. He pulls it down from OFF to ON. CUT TO: 531. EXT. ODEN - THE RAILING

A dozen commandos convulse as the railing electrocutes them. They die where they hang. CUT TO: 532. INT. SOYUZ - BRIDGE SLAVA (on phone) Hit their bridge again. And tell the commandos to board with wooden planks.

CUT TO: 533. EXT. ODEN - BRIDGE A rocket hits the Oden's bridge. Mohammed is gone. CUT TO: 534. EXT. ODEN - THE STARBOARD (CLEAR) SIDE Paul, in full scuba gear, attempting to escape, climbs down a rope into the sea next to the stopped ship.

350 Rick and Kettie slither along the deck as they drag a bag. Hogan smokes a cigar. They look down and see Paul adjusting his regulator. HOGAN Hey. Paul looks up. PAUL (ashamed) I want to live.

HOGAN So do we. KETTlE We never thought the French were cowards. PAUL (thinking) I am no coward. But I know when it's over. HOGAN It's not over yet. (he takes the bag) catch. CUT TO: 535. EXT. ODEN Five commandos land a plank on the Oden. They walk the plank toward the Oden's deck. The Radio Operator steps out of the doorway, winds up with a dart and hurls it into the first commando's forehead. CUT TO: 536. ANOTHER ANGLE The commando falls into the sea. CUT TO: 537. ANOTHER ANGLE The next commando fires his Kalshnikov and blows the Norwegian dart thrower against the superstructure.

(' 351 CUT TO:

538. ANOTHER ANGLE

Hogan and Kettie, behind some wreckage, pull some TNT sticks out of a bag. Hogan light them with his cigar and throws them toward the Soyuz. The dynamite explodes .•.

But many Russian rifles and guns open up at our heroes.

Rick and Kettie duck as bullets pepper the wreckage. A pair of commandos move up across the deck. Rick and Kettie can't move. They're trapped.

HOGAN (picking up a piece of wire) Here ••• (he twists it into the shape of a ring and puts it on her finger.

KETTlE How thoughtful! Are we engaged now?

HOGAN Why not?

KETTlE If we live, I'll hold you to this. I hope you know what you're doing.

HOGAN Well, we'll either go out together or grow up together. Kettie hugs him.

CUT TO:

539. EXT. SOYUZ A huge underwater explosion thunders and throws up a pillar of white water at the Soviet ship's waterline. The Soyuz shudders and starts to list. CUT TO:

540. EXT. ODEN - STARBOARD SIDE

Paul climbs up the rope with a TNT stick in his mouth.

(' 352 CUT TO: 541. ANOTHER ANGLE

The commandos on the Oden turn towards the smoking and listing Soyuz. They jump back on board as the grapple ropes burst between the two ships.

CUT TO: 542. INT. ODEN - BRIDGE Dagmar grabs hold of the throttle handles and shoves them to full power. CUT TO: 543. EXT. ODEN - ANOTHER ANGLE The Oden pulls away from the Soyuz. Some of the Soviets fire back but it's too late. The Oden escapes. CUT TO:

544. EXT. SOYUZ The ship lists sharply. The crew and the commandos pile into lifeboats or put on life jackets and jump into the sea. CUT TO:

545. INT. SOYUZ Slava opens his cabin door and goes inside. CUT TO: 546. EXT. SOYUZ The lifeboats pull away. Misha steers one of them. MISHA Wait! Colonel Slava! CUT TO:

547. ANOTHER ANGLE From a distance, we see the Soyuz capsize until only the upside down stern remains above water. CUT TO:

• !) 353 548. ANOTHER ANGLE Slava walks on the keel as it finishes rolling. He stands aside the rudder with his hands behind his back. He wears his military long coat and hat. It looks like he's ready for a military parade ... or a funeral. Misha and the boat crew urge him to climb into their lifeboat. They shout and wave to him. Slava stands motionless. He looks down at his jack boots and then looks at the boat crew with a pained expression. Slava knows everything he's worked for is over. Slava holds back his tears and bravely salutes, choosing his own destiny. Sympathetic music in the background. CUT TO: 549. ANOTHER ANGLE Misha and the other Russians are moved to silence. They quietly row away. CUT TO: 550. ANOTHER ANGLE The sea around the stern bubbles and releases trapped air. The silhouette of Colonel Slava rides the stern down beneath the waves. DISSOLVE TO: 551. A CRUISE SHIP - THE STERN Rick stands at the rail and watches the waves. KETTlE Who's that sharp looking man? Kettie, for the first time is wearing a sexy dress with some of her cleavage exposed. HOGAN Sorry, lady. I'm engaged. KETTlE (frowns) out of circulation, huh? Well then, what would you like from me? HOGAN A smile?

354 . \) KETTlE How 'bout a kiss?

HOGAN I'll buy that.

They kiss.

END TITLES THE END

355 FEBRUARY 1988 APRIL 1988 JANUARY 1988 MARCH 1988 HAY 1988 JUNE 1988

w Ul 0\ 8£61N PROJECT

Table 1

Critical Path Analysis Chart

The Writing Of ,, .. The Wreck Of The Admiral Nakhimov ." I ~ -- AS OR!G!NI\LLY PL!INNEO -- HAY 1988 JUNE 1988 JANUARY 1988 FEBRUARY 1988 MARCH 1988 APRIL 1988

....

w Ul -...,J

Tabla 2 Critical Path Analyaie Chart

(( IJ The Writing Of The Wrack Of The Admiral NakhimOV. -- AS COMPLETED -- Figure 1 Figure 2

u.s. Navy Diver Diver Wearing Figure 3 in Experimental Wet Suit Diving Suit Diver Wearing a. Pressurized Robot Suit

Figure 4

Diver Being Pulled by Swimmer Propulsion Unit

FigurE:~ 5 Figure 6

wet Suit Diver Wearing Diver Wearing Full Full Gear Dry Suit

(" 358 Figure 7

Divers House or Habitat Used Figure 8 for Saturation Diving Recompression Chamber

Figure 10 Figure 9 Manned Submersible DSRV Towed Array Sonar (Deep Submergence Device Rescue Vehicle)

Figure 11 Figure 12 Suction Dredge at Work Remotely Operated Vehicle (ROV)

(' • I 359 Figure 13 Figure 14 Revolver Silenced Pistol

p ~ ~ Figure 15 Figure 16 Soviet Kalashnikov AK-47 Automatic Assault Rifle Czechoslovakian Machine Pistol

:E fi ~ ~ Figure 17 Figure 18 Pump Shotgun Rocket-Propelled Grenade Launcher (RPG)

:=J= ~

Figure 19 M-1 Garand High-Powered Figure 20 Sniper Rifle "Starlight" Night Vision Goggles

' ~ 360 I

Figure 21 Soviet Nuclear ~'ill·z&= Powered Spy Satellite Figure 22 Soviet Beriev "Chaika" Turboprop Flying Boat

-~~ I Ito~ lliJ--

Figure 23 Figure 24 soviet Beriev BE-10 Soviet RO-RO Merchant Ship Jet Flying boat (Roll On, Roll Off)

Figure 25 Soviet Spy Trawler Figure 26 Ex-u.s. Navy LCM-type Landing craft

,, 361 Figure 27 Figure 28 Modern Research and "Grog" the Dog Salvage Ship

-t LA.~L Figure 29 Figure 30 Imperial Russian Cruiser "Admiral Nakhimov" The "Admiral Nakhimov" as She Appeared Cutaway View in 1904

CHINA W+E.. s

"'"',...... r:JF,.. ;>

l'£L.L.0W ~£1'1 ,~ \ ,.1'-, /?:)

Figure 31 Map of Northeastern Asia Showing Area of Russo-Japanese War of 1904-05. Cross Marks Where the cruiser "Admiral Nakhimov" Sank during the Battle of Tsushima.

362