ENDANGERED SPECIES

Written by

Steven L. Sears & Gabriel Grunfeld “We have a map of the world showing how all the nuclear tests have been conducted on the territory of Native Peoples”

- Chief Raymond Yowell “Whose brilliant idea was it to send a Black Man to Africa?

- unidentified State Department Official ENDANGERED SPECIES OVER BLACK: We hear the sounds of nature. Birds sending out strange calls; wind blowing briskly; grass and brush rustling as we see credits. Finally; FADE IN: EXT. AFRICAN PLAIN - DAY An immense plain receding into the distance. Nibbling at the short, brown grass is a rhinoceros. A couple of "alarm" birds sit on its back. A moment of tranquility... The "alarm" birds take flight. The rhino is suddenly alert. A low rumbling sound tells us something is happening. A truck slides into view behind the rhino. On the fender of the truck is a man seated in a chair holding a long pole with a noose on the end. The rhino turns, bewildered, and begins to run, the truck in hot pursuit. The man in the chair is trying to snare the loop over the rhino's head. The rhino runs as fast as his primitive legs will allow. The man in the fender seat is a dead ringer for John Wayne. He tries again with the snare. The rhino hits the truck, lifting it up on two wheels. The truck spins and stops; a face off. Sensing the trap, the rhino takes flight again. The huge animal is tiring. A herd of goats seem to watch attentively as the rhino and the truck thunder toward them. The goats are transfixed, unconcerned by the impending tragedy of goat life. The rhino continues its charge, oblivious. The goats don't move. Suddenly, a car horn blares. WIDER - DRIVE IN The goats scatter among the parked vehicles as the rhino and John Wayne continue the chase on the movie screen. This is a Drive-In from the fifties; older dusty cars, with old speakers. A juxtaposition of old America and New Africa. Over this, we Superimpose: NAIROBI, KENYA (1974)

CLOSER - LAND ROVER JACK ANDREWS, has his hand on the horn. Young but aged by experience, he wears bush clothing and a tattered Aussie hat pulled down over his tanned face. 2. Sinking into the seat next to him is ADAM, a brawny, good natured, young Masai tribesman in his Sunday/leisure best. JACK Get the fuck out of the way, you goddamn goats. I hate goats. ADAM This is something I know. JACK Fucking stew with horns. Suddenly, a face appears at the window. The old, grizzled, scarred tribal countenance of JOSHUA. His look is stern, perhaps deadly as we wonder what his intentions are. JOSHUA Hatari! (grinning) You are enjoying my movie, Mr. Jack? If not my goats. JACK Joshua, why don't you pen them up during the movie? JOSHUA On John Wayne night? They love the Duck. JACK Duke. At that moment, a small hand reaches out from the darkness behind Jack and grabs the hat off his head. JACK (CONT'D) Hey, you little Nyani... The eight year old black face of DARLENE appears from the backseat. DARLENE It's mine, Uncle Jack. You said I could have it if I ever caught you cursing. JOSHUA Darlene! Happy birthday, little one.

DARLENE Thank you. Daddy asked Uncle Jack to take me to the movie tonight because he was busy. 3. JOSHUA Your Daddy's a police chief. He's a busy man. DARLENE We were supposed to see Bambi. JACK You're not going to see anything if you don't watch the movie. Darlene plants a kiss on the back of Jack's head and sits back into the darkness. JOSHUA So, Mr. Jack... it's a nice night for gifts, is it not? A beat, then with a sideways glance to Adam, Jack reaches below his seat and pulls out a small package which he hands to Joshua. Joshua quickly sticks it under his coat and scurries off. ADAM Do you want to tell me what that was all about? As a friend? JACK Nope. Jack turns his attention forward; this discussion is over. After a beat, Adam turns his attention toward the screen. DISSOLVE TO: EXT. DRIVE-IN - NIGHT The marquis displays the words "JOHN WAYNE NIGHT - NEW MOVIE!". A string of vehicles leave the park. Joshua stands on the front porch of his shanty, waving as Jack's Rover exits. INTERCUT - LAND ROVER Darlene is curled up, asleep in the back. Jack waves. The door behind Joshua opens and his wife appears, wearing the flimsiest, gaudiest, fur lined nightgown we are ever to almost see. A size three on a size twelve woman. She holds the now empty box that Jack gave Joshua. Joshua's eyebrows wiggle lasciviously as he follows his wife inside. ADAM My friend... the big time lingerie smuggler. 4. ANGLE - ON LAND ROVER Adam breaks into laughter as the Rover rides off into the moonlit panorama of the African veldt. TIME DISSOLVE: INT. MALIBU BAR AND GRILL - NIGHT - CLOSE ON GLASS The glass is a standard shot glass, filled to the brim, and then some, with a dark liquid of suspicious origin. A large, black, beefy hand enters frame and grabs the glass. WIDER The owner of the beefy hand downs the drink in a gulp. The Malibu Bar and Grill (Nairobi Franchise) is a no man's land of fringe Hemmingway-esque characters. Colorful characters from both sides of the law mingle freely on this neutral turf. Business as usual. The tables are filled. Two large men stand, a brawl in its embryonic stages. It doesn't come to term as two BOUNCERS grab them and "escort" them to the door. Two hands from different tables snake out and grab the untouched drinks. We follow one hand back to Jack and Adam. Obviously a local custom. Not a drop is wasted in the Malibu Bar and Grill. ADAM Don't put words in my mouth. JACK (angry) Somebody's got to. Why don't you just say it? I'm not getting that irrigation license because I'm a white landowner. ADAM That isn't the reason, Jack. JACK If I don't get water to my coffee fields, I'm fucked in a royal way, Adam. No matter what the reason. ADAM Perhaps after the election, there will be... JACK What? Another President with limp dick policies toward the economy. How can such a beautiful country have such a fucked up government? Who do you think you are? America? 5. ADAM William Badu says he has a plan. He is a man to be trusted. JACK You can only trust lightning, mules and God. I'm still gonna get screwed. ADAM You could always accept the safari offers. You are in demand... (off his glare) It was just a thought. The government looks favorably on anyone in the tourist trade. JACK I'll lead a safari to hell. When I'm dead, thank you. ADAM (beat) There's a classified file on you, my friend. One that lists Jack Andrews as an "undesirable alien". JACK I'm just as African as you are, Adam. Just because my skin is three shades lighter... ADAM (firmly) Africans shouldn't kill Africans, my friend. Not for the pay of other governments. (beat) The file was quite extensive. JACK (dry) I'm flattered. ADAM This is no joke to me. I broke the rules for you, my friend. JACK I appreciate that. ADAM Don't. Because it never happened. This conversation never took place. JACK Where have I heard that before? 6. Adam looks up as RASHID enters. He is a seven foot mountain of muscle wearing a safari jacket which sports small, carbon rimmed holes. Not a moth problem. On his feet are boots which are pure macho cowboy. Squared metal toes and material probably taken from some dinosaur. JACK (CONT'D) Not many people look good in cowboy boots. That man is no exception. ADAM That's the man I'm waiting for. JACK Let him cool his heels for a second, I want to finish this. ADAM He has the information on the poachers in your area. JACK Who cares about Poachers if I've got no land for them to poach on? Without replying, Adam heads over to Rashid. Jack angrily downs his drink and heads out. CUT TO: EXT. JACK'S HOME - NIGHT - VARIOUS SHOTS A large sign says "KAHAWA SHAMBA (coffee farm) - Jack Andrews, esq." We can see several fires lit up in the coffee grove. The tenant farmers are working with the coffee, separating the leaves, making sure they don't frost or get soggy. Even in the dark, we can tell this is a plantation that has been cared for. Bungalows are set neatly along one side of the field. Machinery is underneath a large tent. Jack's Rover is parked nearby. KABRIL, walks toward the largest of the bungalows carrying a clipboard. She is a strikingly beautiful black woman in her mid-thirties. INT. JACK'S BUNGALOW - NIGHT The room is simply furnished with a roaring fire in the fireplace. Jack is taking things down off his walls and putting them into a large box. What is left on the walls indicates a life of covert work. Assorted military equipment of all varieties.

A knock is heard on the door. Kabril enters. KABRIL I brought you the inventory of the equipment... moving? 7. JOSHUA Hmmm? Oh, hi, Kabril. Nah, just doing some housecleaning. KABRIL (surprised) You're going to throw this out? JACK Maybe. Maybe store it. I'm just tired of looking at it. How's it going out there? KABRIL Old Shama said we might have cold tonight. I had the men light the warming pots. JACK You can't freeze coffee beans that don't have water in them. She hands him the clipboard and starts to leave. He takes her by the hand. JACK (CONT'D) Do you have to take off? KABRIL It will be a long night. We still have to refuel the fires. JACK You're the best foreman I've ever known. KABRIL (smiling) Fore-"person". JACK Western civilization rears its ugly head. She laughs at the inside joke. He isn't quick to let go of her hand, but, finally, he lets it drop. JACK (CONT'D) Sorry. My mind was... years ago. KABRIL Yes, it was. Good night, Jack Andrews. She kisses him lightly on the forehead. 8. JACK I still got it, don't I? KABRIL Yes. Now, take it to bed. She exits. Jack takes a beat, then opens the rolltop of the desk. In one compartment is a shortwave radio. Jack opens a drawer and pulls out a stack of passports. Kenyan... American... Canadian... Spanish... Soviet... each one with a different name but the same photograph: Jack. He puts the Kenyan passport back in his desk. He starts to throw the rest into the fire, but, at the last minute, throws them into the box. His shoulders slump with an intense feeling of heaviness. Maybe it's fatigue... maybe it's his life. DISSOLVE TO: EXT. JACK'S PLANTATION - DAY (MORNING) The sun is rising, revealing a crimson image of a beautiful African landscape. In the distance, the silhouette of giraffes can be seen. An arm reaches into frame, as if stretching. We hear the sound of a breath being exhaled in a measured, assured fashion. Jack is concentrating on his Tai Chi exercises. He wears only his camouflage shorts as he intently goes through his routine. His movements bring forth an image of a Master of Martial Arts. But there is something that transcends the organized Arts. Something catered to this powerful individual. A silent power that rivals that of the Earth herself. A giggle is heard. Jack continues. Ignoring the sound. Again, a giggle. And, another. Jack closes his eyes to reaffirm his concentration. Finally, he pauses, places his hands together, in front of his chest and exhales. Then, he turns and glares at; WIDER ON THE SCENE A dozen children of the workers on the plantation. They try their best not to make noise, holding their hands over their mouths, but it is a futile effort. Jack charges them and roars. The children scatter in all directions, squealing with delight at this well worn ritual. Jack allows himself a slight smile as he picks up his rifle, and walks off. CUT TO:

EXT. CLIFFSIDE Now, in the daylight, we can appreciate the hold this land has on Jack as he overlooks a massive valley of jungle and 9. veldt. The silence is only broken by the distant roar of a lion or laugh of a jackal. He stiffens. Something has caught his ear; gunshots. Rapid, from machine guns in a firefight. In the distance, something burns with the black smoke of an oil fire. He spins on his heel and runs to his Landrover. He guns the engine, spinning the Rover toward a former drainage wash, now a makeshift road. THE "ROAD" The Rover bounces down the hill with grimaced ease. Jack's urgency is obvious. EXT. THE VALLEY FLOOR - VARIOUS SHOTS The speeding Rover causes Zebra and Tobi to scatter. Finally, Jack stops the Rover. He gets out, holding his rifle. His face is a mask of anger. ADJUST ANGLE An elephant lies on its side, the front of its face hacked through. The tusks are gone. On the side of the once majestic animal is the unmistakable stitchwork of man; bullet holes from an AK-47. In the bloody mud are the tracks of a large boot with a squared toe and a sharp heel. CUT TO: THE CLEARING Three trucks are here. One is burning. It is clearly marked as a National Ranger Vehicle. The other two are commercial trucks. Three men stand nearby with AK-47's over their shoulders. One of the men shuts the back gate on one truck. It then lurches off. The three men walk over to four elephant corpses. One of the men picks up a large machete. Meanwhile, as the first truck heads off, Jack looks up from his concealment. Blood seeps from the truck's tailgate. We begin to hear the sickening sound of metal on flesh. Jack quickly inspects the truck cab, finding a box underneath the seat marked "Semtex". Surprised, he rolls under the steering wheel. Pulling down some wires, he forces the bare ends into the Semtex. The door is opened. The poacher barely has a second to look startled when Jack grabs him by the throat and jams his elbow roughly into the man's neck. The poacher goes limp as the second poacher sees them. Jack drops and rolls under the truck as the poacher fires, ripping into his compatriot. 10. Jack comes up on the other side of the truck as the other poacher rushes up. Jack grabs the front of the AK-47 and uses it to flip the man onto the ground. He turns to meet the other poacher racing around the corner of the truck, using his momentum to send him into the metal gate and disarming him. As the two men stand, Jack faces them. (NOTE: all KiSwahili dialogue is to subtitled) JACK (in KiSwahili) (Come on. Great hunters of elephants, you can't be afraid of a man, can you?) They are. They spin toward the truck, jump in and slam the doors. Jack jumps for cover. INT. MERCEDES TRUCK CAB The poacher turns the ignition. THE SEMTEX A spark arcs between the two wires as the ignition grinds. BACK TO SCENE The truck explodes! A huge fireball destroys the vehicle. Then, the petrol ignites. Another explosion. Jack runs to the tree with the Rangers. Then, for the first time, we see a reaction of shock on his face. ADAM (weak) I was hoping for John Wayne... ADJUST ANGLE - INCLUDE RANGERS The other Ranger is dead. Adam is covered with so much of his own blood that it is difficult to see his damage. JACK Jesus Christ... Jack unties the wire binding Adam to the tree. ADAM Not a bad job... I had a front row seat. How'd you do the truck? JACK Semtex. Plastic explosive made in Czechoslovakia. Jack carries him through the bushes. 11. ADAM T'Kana... JACK T'Kana's dead. INT. ROVER Jack sets him in the passenger's seat and jumps in. ADAM They killed seven today... seven Tembo... they surprised us. Jack starts the Rover and rushes down the trail. Adam is leaning against the window. JACK Stay with me, Adam. I'll get you to the station. ADAM Ndiyo... I know you will. (beat) They're killing my land, Jack. It's dying... JACK Hold on... Just hold on a bit longer. Damn! Silence. Then, Adam begins to sing softly. A low, sweet song, filled with the essence of his tribal past. The words are not important, even if we could understand them. By the way he stares out the window, we can tell he is singing a love song to his country. Finally; ADAM Chandalua mountain... it's there, Jack. That's where he... (beat) JACK Adam...? ADAM Don't let them kill my country, Jack. It is me. Slowly, he leans his head forward until it touches the glass. His eyes flutter, then... He is dead. Jack's determined expression doesn't change. He blinks his eyes once to clear them. 12. EXT. TRAIL - DAY - HIGH ANGLE The camera rises, following the receding Land Rover and soaring high over the land that Adam loved, we begin to hear the low, tentative sounds of a string quartet. The music continues, building in its assurance, as we; DISSOLVE TO: INT. SAFARI CLUB - TEA ROOM - DAY - ON WHITE The music breaks into a Telemann quartet, competing with people talking and the clinking of glasses and silverware. The camera slowly pulls back to reveal a pristine white jacket with gold buttons and impressive accouterments belonging to a black man holding a china sugar cup. The source of our music has been a military string quartet. The black African musicians are the centerpiece of an opulent tea room, an obscene acquiescence to colonial mannerism. Stationed at various points around the room are guards in full military dress, complete with dress-white uniforms, parade rifles, and tall, feathered pith helmets. This high tea is attended by Kenya's ruling elite, discussing business and pleasure. Uniforms, jackets and gowns are the norm among the privileged guests. Into this gentrified china shop, barges Jack, still soiled with the morning's battle. With barely a pause, he lifts one of the startled officials and drags him out of the room, leaving no time for reaction among the decorative guards. INT. SAFARI CLUB - DAY - STORAGE ROOM Jack drags the official in with him. This man is JOSEPH, a stately man, once an athlete but now slightly softened by the responsibilities of office. Jack throws him up against the wall, pinning him with his arm. JOSEPH Now that you have my attention... JACK (deadly serious) Adam is dead. Joseph reacts, then seems to slump slightly. JOSEPH (a statement) Poachers...

JACK How did you know? 13. JOSEPH I didn't. I just assumed... JACK (angrily) How did you know? Joseph's eyes blaze he shoves Jack's hands away. JOSEPH Because I sent him out. Jack takes a second, then, surprisingly, he backs off. JACK I'm... sorry. JOSEPH It is my responsibility as Chief of Police. (then) We had a tip about poachers near your plantation. Adam and T'Kana were just observers. T'Kana...? Jack nods his head. We realize now that these are not antagonists but old friends. JACK Before he died, Adam mentioned something about the Chandalua mountains. M'Buto controls that land. He's behind this, Joseph. These were his poachers. JOSEPH We have no legal proof that M'Buto's involved. I cannot disobey the law. JACK Don't tell me about "laws". All my life I represented someone's "law" while breaking someone else's. It has very little to do with justice. JOSEPH If there's a way to trap M'Buto, I'll do it. (hardening) But, don't ever tell me what I believe in is useless. He may own half the government, but he doesn't own me.

JACK (simply) Adam is dead. 14. Jack walks out. Joseph stands there, nailed. CUT TO: INT. LOUIS DELGADO'S OFFICE - DAY A non-descript, generic office with mismatched utilitarian furniture. LOUIS DELGADO is a large, beefy man who reeks of forced desk duty. The cane against the wall attests to his limitations. The picture of President Nixon on the wall is a comment on his place of business. At the moment, he is talking on a radio setup similar to the one at Jack's bungalow. LOUIE You're inactive, Jack. Years out of the loop. I'm not even supposed to be talking to you. INTERCUT - JACK'S BUNGALOW Of course, Jack is on the other end of the line. JACK Semtex. Lots of it. LOUIE Where? What's the quantity? Did you get the source number? JACK If I tell you about this stuff, you have to send someone in to take care of it now. I don't want this being lost in some CIA database. LOUIE Jack, is it Soviet? (no response) Tell me it's Soviet and I'll have the Marines in there in two seconds. A long pause, then; JACK No. I can't tell you that. Doesn't mean it isn't. LOUIE Jesus... my hands are tied. You know the State Department position. Africa is officially out of bounds. The Soviets have publicly agreed with that. 15. JACK What about Angola? I was there when... LOUIE I said "publicly". You know the drill. We both look the other way until we can't look anymore. (then) Where'd you find the Semtex? JACK Poachers. LOUIE What, Semtex to kill elephants? Okay, how much can you send me? JACK (beat) None. I blew it up. LOUIE Temper, temper, Jack. JACK I already know who the top man in this operation is. If we can bring him down, we can find out his connection. LOUIE Connection to what? It's meager, Jack. Real meager. Look, if this is a personal grudge, you're on your own. JACK It's not personal. I'm calling in the favor, Louie. I want an agent out here in three days. Louie shakes his head, annoyed. LOUIE I thought it was leading that way. I'll see what I can do. And Jack hangs up. Louis sits back, thinking. He casually doodles on the blotter. Then, he smiles and reaches for the phone.

LOUIE (CONT'D) Hello, Dominic? Louie DelGado. (MORE) 16. LOUIE (CONT'D) I'm calling in my favor... CUT TO: INT. PHILLIP'S OFFICE - DAY Not a very big room, but stately, grand, and a bit pretentious, like the man. Another photo of President Nixon, the U.S. flag, the large State Department seal and the view of the Washington Monument out of the window attest to his State Department employment. PHILLIP LANSING strides into the room followed by a SECRETARY. Phillip is good looking, black, a hip, modern example of the upwardly mobile black lifestyle of the sixties. At the moment his lifestyle seems to be in a bit of a crisis. PHILLIP Track it down! I want to know who signed the orders. And get my Dad on the phone, now! JEREMIAH Too late. Phillip looks over to see his father, JEREMIAH, sitting in an oversized chair. He is a Sidney Poitier type, raised in the streets and tempered by the realities of life. He has a determination to do things about the injustice of the world, which is why he has become one of the biggest lawyers in the country, working primarily on cases with social relevance. Phillip waves his Secretary out and turns to his Dad. PHILLIP Dad! They want to send me to Africa! What kind of bureaucratic screw up would send someone like me to Africa? JEREMIAH I know all about it. They want you to show the flag on this illegal ivory problem. It's flared up again and I'd think you'd be honored. Don't underestimate your qualifications, son. PHILLIP Qualifications... Right. I'm covered with "qualification". He rubs his arm, drawing attention to his skin.

PHILLIP (CONT'D) It's racist, is what it is. Do something. You're a civil rights lawyer, what about my rights? (MORE) 17. PHILLIP (CONT'D) I'm was already assigned to the court of St. James! The Court of St. James!! I shmoozed overtime securing that assignment! JEREMIAH Calm down, Phillip, and think. This could be a good career move for you. PHILLIP Oh, let me see... (weighing it) Court of St. James... backwater African cesspool. Court of St. James.... backwater African cesspool... Hm. Dad, you are so naive! An assignment to any third world country is the kiss of death! It's a bad table at La Scala! It's public education! JEREMIAH I can't believe it's the first time I've noticed it. PHILLIP What? JEREMIAH That my son is a total idiot. PHILLIP Excuse me? May I remind you that I have two degrees? Political Studies and Nuclear Engineering? JEREMIAH Yes, I know. I paid for them. Just as I paid for everything else in your life. My mistake... was in protecting you. From the poverty I grew up with. And the racism. And the hatred. PHILLIP That's what I'm saying! This is all about racism! "We gotta send someone to Africa... wait! I know! The guy with the Afro!" Well, shucks, I sho' gots ta' know 'bout them Aficans!

JEREMIAH Shut up! Your problem is your own arrogance! (MORE) 18. JEREMIAH (CONT'D) It's as if you never heard of civil rights, Selma, Alabama, or Martin Luther King! Before you can appreciate those things, you have to understand where it all began. Africa is a part of you, it's a part of all of us. A knock on the door. PHILLIP (yelling) What? The Secretary comes in, a bit intimidated. SECRETARY Sorry, Mr. Lansing... It's official, but I can't nail it. Mr. Benton's secretary said he got the word from Mr. Lassiter. His secretary said it came down from Ms. Rodriguez's office. And I'm still working on it. The Secretary leaves. Phillip turns to his dad, realizing. PHILLIP My God, no! I'm the butt end of a favor chain! Phillip drops into his chair, dazed. A beat, then Jeremiah takes something out of his pocket and sets it on the desk in front of Phillip. It is a worn diary with an old, multicolored piece of cloth bound around it. PHILLIP (CONT'D) Please... Don't bring Mom into this. JEREMIAH I would think that you might have an interest in it now. Just take it. Read it on the plane, if you have the chance. (then) Don't dismiss the thing she dreamed of. Phillip picks the book up. Then; PHILLIP You really aren't going to help me, are you? Jeremiah leans back in his chair. 19. JEREMIAH Well, I do have a suggestion... Phillip looks hopeful. PHILLIP Talk to me. I'll owe you big, Dad. Please, save your baby! JEREMIAH Very well. Courtney Tyler is retiring from HUD at the end of the month. I can recommended you as a replacement. PHILLIP No! Absolutely not! Nothing against Courtney, I know he's an old bud of yours from P.S. 32, but I already have an appointment to the Court of St. James! JEREMIAH (correcting him) Had. PHILLIP (correcting him) Have! Darn it, I can wield a little power myself! I'm fighting this. I am not going to Africa! He sits back and crosses his arms, a determined look on his face. CUT TO: THE SUN The drone of dual prop engines is heard. A DC-3 flies into view. The legend on the side proclaims it to be of the proud fleet belonging to Air Kenya. EXT. UHURA REGIONAL AIRPORT - DAY A double row of modest buildings divided by a crumbling pavement runway. The DC-3's tires screech with contact. JACK Stands next to his Rover. He heads over to the entrance a building with a "Welcome To Uhura Airport" sign in English, German and French.

RUNWAY A crew of men secure the DC-3 as two men lower the stairway. Several non-descript people get out, obviously locals and 20. tourists. Phillip stops momentarily in the hatchway, taking in the dust, dirt, heat, smell, and anything else that matches his opinion. He is wearing the Gucci version of a safari outfit with a Neiman's bag on his shoulder. PHILLIP (nodding) I hate it. At the bottom of the step, one of the crew welcomes him. CREWMAN Jambo! Habari? (Hello) Phillip looks at him, blankly. CREWMAN (CONT'D) (KiSwahili) (Are you okay?) PHILLIP I don't... what? CREWMAN You speak English? PHILLIP Of course. I'm American. CREWMAN American Black man! Ah. Jambo... it means "hello" in KiSwahili. PHILLIP Well, jambo right back at you. CREWMAN Ashante. Thank you. Would you like to buy a book on KiSwahili? PHILLIP You've taught me all I need to know for my stay, thank you. Phillip walks off. CUT TO: INT. CUSTOMS BUILDING - DAY On the smiling face of the CUSTOMS AGENT, we hear:

PHILLIP There has got to be some mistake. 21. WIDER A tired and impatient Phillip stands in front of an inspection table with five pieces of Gucci luggage. In the background, we can make out the rest of this converted warehouse/customs/welcome section of the airport. People pass slowly through the sparse lines. Two soldiers, airport security, pay no attention as they smoke cigarettes and exchange military gossip. PHILLIP I checked five pieces and there are five pieces in front of you. CUSTOMS AGENT The papers I have specify four pieces. Four pieces. Maybe you have one too many. PHILLIP I don't have one too many. The Customs Agent hefts the smallest of the bags and checks the contours. He likes the look of it... a lot. CUSTOMS AGENT I like this. Very much. PHILLIP Of course you do. Look, could you just stamp my entrance Visa and let me get on my way? CUSTOMS AGENT Your Visa... yes... (pointedly) I like this bag... very much. PHILLIP Then why don't you go out and... (realizing) You can't be serious. That's illegal! The Customs Agent is insulted. And, by this country's standards, he has a right to feel that way. CUSTOMS AGENT You insult me. Go over there and wait. PHILLIP (aghast) That's a diplomatic Visa! I'll have you reported. You, there! 22. He motions to the soldiers. A SOLDIER saunters over. Phillip shoves the Visa into the Soldier's hand. PHILLIP (CONT'D) This man is bribing me for my luggage. SOLDIER You are an American Black man? PHILLIP Is everyone in this country going to make a big deal about that? Yes, I'm American. An important American. The Soldier picks up the bag and looks at it. CUSTOMS AGENT It is a very nice bag. SOLDIER It is a very nice bag. The Soldier slings it over his shoulder to test its feel. The Customs Agent, realizing his loss, begins to eye another bag. Phillip is incredulous. Suddenly, a very large body intervenes. JACK Excuse me. Perhaps I can clear this up. PHILLIP (dry) Oh, look. A white American. JACK I'm African. PHILLIP (giving up) That figures. What do you want, my carry-on luggage? JACK You're Phillip Lansing. I'm Jack Andrews. Wait over there. I'll take care of your luggage. Phillip walks over to the side and stands. We can tell that Jack knows how to talk to these people as he hands some money to the officials. Phillip is incensed. Jack grabs the bags and walks over to Phillip.

JACK (CONT'D) Nice cover. You convinced them. Come on. 23. He walks out of the building. Phillip follows. EXT. CUSTOMS BUILDING - DAY An official-looking sedan is near the curb. A man in a suit stands holds a small sign which is unreadable at this angle. Jack walks in the other direction, toward his Land Rover parked at the other end of the street. Phillip follows. PHILLIP You bribed those men. You paid them money for my belongings. JACK That's the way things are done. Don't go too far with this, okay? No one is watching us. PHILLIP But that was extortion! JACK (sighing) Have it your way. He throws the luggage into the back seat and gets in. PHILLIP To be honest, I was expecting a consular limo. I guess this is the Third World version of it. Jack fires up the engine. As the Land Rover passes, we hold on the man and his sign: "Phillip Lansing - Consular Office" CUT TO: EXT. DIRT ROAD - DAY The Land Rover travels an old backcountry road. Suddenly, a high pitched BEEPING is herd. PHILLIP Time to take my malaria pill. INT. LAND ROVER - DAY Jack is driving. Phillip is bouncing about, trying to turn the alarm off on his "modern" watch alarm. PHILLIP It's a Pulsar. See? Digital. Newest thing. He takes a pillbox out of his jacket. 24. PHILLIP (CONT'D) Every two hours, I have to take this garbage. Do you have any water in here? Jack points to a canteen. Phillip takes it, unscrews the cap, wipes it down thoroughly with his hanky, and takes a drink. The Rover rocks from a huge bump. Phillip spills some of the water. PHILLIP (CONT'D) Hey! Doesn't this country know anything about concrete? You can use it for roads. Jack takes the canteen, throws it into the back and reaches into the glove box to pull out some documents. He drops them on Phillip's lap. JACK The head of the operation is M'Buto. That's his picture there. He's kind of an Ivory Godfather. His men were using the Semtex. Phillip gives a sideways look to Jack. He has no idea what Jack is talking about. PHILLIP Okay.... JACK The yellow circle is the Umbata National Reserve. The whole northern region is controlled by the Shiftas. PHILLIP Shiftas... JACK Poachers. Mostly Somali, but they answer to money, not nationality. The answers lies there. And the best way into the area is by M'Buto's own VIP safari. PHILLIP Excuse me... JACK Shut up for a minute, let me finish.

PHILLIP By all means, finish. 25. JACK (continuing) His legit business is this Safari. It travels the route in blue. We can use it as a cover to get in. After that, we play it by ear. Any problem with the scenario? PHILLIP The scenario sounds wonderful. However, I have no idea what you are talking about. I'm a diplomat. JACK It's a good cover. PHILLIP You sound like something out of a bad spy movie. I am afraid I will have to request another chauffeur. Jack gives him a look, then hits the brake. EXT. DIRT ROAD - DAY The Rover plows to a halt. Jack gets out and walks to Phillip's side of the Rover. PHILLIP Do we have a flat? Not that I would be surprised if... JACK Who sent you? PHILLIP Who...? The United States Department of State, thank you. And, believe me, I... JACK Why? PHILLIP Why...? To... (by rote) "To show the concern the American people have over the senseless slaughter of these majestic creatures". (beat) Really. In fact, I hope to see some of them. JACK You're a diplomat. 26. PHILLIP You're quick. That's what attracted me to you in the first place. Jack roars with anger. He grabs a large rock and hurls it at the hood of his Rover. He kicks the door, then throws another rock at the front grill. Phillip steps out. PHILLIP (CONT'D) Cool it with the rock throwing! Come on, we don't want to create a scene. JACK I'm gonna' kill Louie! You're a fucking diplomat! A tight suited, bureaucratic, panty waist mouthpiece! PHILLIP Hey! Tight suits are in. Jack turns and glares at him. Phillip reacts. PHILLIP (CONT'D) Okay. I can take insults because I'm a gentleman. Who's Louie? Jack stops his tirade. Then, heads toward the Rover. JACK Get back in. PHILLIP Don't I get to throw any rocks? Jack starts up the engine. Phillip jumps in. CUT TO: INT. POLICE CHIEF'S OFFICE - DAY Joseph sits behind his desk, his coat unbuttoned as he pores over papers. A beat, then the door opens and a young LIEUTENANT enters. LIEUTENANT Sir, this just came in for you. He hands Joseph an official pouch with a wire seal on it. He takes it and cuts the wire, withdrawing a few pages of paper and a photo. He scans it and smiles.

JOSEPH Very good. That will be all. I need to spend some time with this. 27. The Lieutenant nods and starts to exit. He pauses long enough to look back at his boss, then, he is gone. He doesn't see what else Joseph pulls from the pouch. A tiny ivory elephant with a streak of jade along its side. CUT TO: EXT. OPEN AREA - DAY - CLOSE ON BUZZARD The eyes move back and forth, with interest. Suddenly, we hear the sound of a Land Rover approaching. We pull back as the Buzzard takes off. Jack's Rover pulls up and stops. Phillip is staring out his open window, his face a mask of shock and disbelief. Jack gets out as Phillip slowly opens his door and steps out. A dead elephant. Bloated, soured by the midday sun. Flies swarm around the gaping hole that once was its face. Next to it, another elephant. And, another. A herd of twenty or so elephants, all tuskless. He and Jack are dwarfed by the immense obscenity of the scene. Phillip turns toward the Rover, overcome and trying to control himself. Jack grabs his rifle. PHILLIP (softly) My God... this is why you asked for help? JACK Does it matter? He walks off. Phillip takes a deep breath, trying to compose himself. He turns around to say something just in time to hear a rifleshot. He turns back to the Rover as Jack walks back. JACK (CONT'D) Poachers aren't very discriminating. But they always manage to leave some of the work for me. Usually the calves. PHILLIP Man... you don't need me. You need the Marines. JACK I asked for the Marines. I got you. Phillip reacts as the sound of a radio crackle brings them back to reality. 28. JOSEPH (Radio filter) Fifteen base ten, this is Joseph. Jack... this is Joseph. Jack grabs the microphone. JACK I'm here, Joseph. In the middle of another kill. About twenty miles west of Tsavo. JOSEPH How fast can you make it back here? JACK (puzzled) Two and a half, maybe three hours. JOSEPH Meet me at my house. I have something you might want to take a look at. Out. Jack places the mike back, thinking. JACK Come on. We're going. And he gets back into his Rover. Phillip gives another look around, then gets in. CUT TO: EXT. JOSEPH'S HOUSE - TWILIGHT A non-descript, generic British van is parked at the curb across from a house in a pleasant piece of suburbia that could be anywhere in the United States. The flat top trees in the distance remind us that we are still in Africa. Children play in the streets as Jack's Rover drives up and parks in front. Jack gets out. PHILLIP Is it okay if I just stay here? JACK I didn't ask. He goes up to the front door. Jack starts to knock, but the door is ajar. He pushes it open and goes in.

JACK (CONT'D) (calling out) Joseph...? 29. Meanwhile, Phillip steps out. He stretches with a primal yawn and walks into the yard, watching a group of children playing a street version of soccer. Suddenly, a man in a blue jumpsuit runs from the side of the house, running into Phillip. They go down in a heap. It's the Lieutenant from Joseph's office. As quick as it happened, the Lieutenant rolls to his feet and runs to the van. PHILLIP Hey! Jambo, you jerk! He looks down to see a brown pouch on the ground. Phillip picks it up and turns to yell at the man. But the van races off. Curiously, Phillip looks back toward the side of the house. JOSEPH'S HOUSE - SIDE Phillip walks along, not even sure what he's looking for. He sees a gas meeter. And, attached to it, an electrical device with a flashing diode light. Phillip's eyes widen in recognition. PHILLIP Jack! INT. JOSEPH'S HOUSE - LIVING ROOM Phillip bursts in and stops suddenly with what he sees. The place is a wreck. He takes this in then to: BEDROOM Even in its current state, we can tell this was the room of a young girl. The room is much as the living room. The exception is that there is blood all over the walls. On the bed, underneath the blanket, are three forms. Two adult, one child. Standing over the bed, in shock, is Jack... holding the hat Darlene took from him. PHILLIP (reacting) Oh, Jesus... (then) Come on, man. This place is wired to blow. Come on. He pulls on Jack's arm. With a roar, Jack backhands Phillip, sending him across the room and onto his butt. Phillip sets his jaw in determination and rushes Jack, tackling him, pushing him into the window.

EXT. JOSEPH'S HOUSE Phillip and Jack burst through the window. They hit the ground, rolling toward a ditch as the house explodes! 30. A huge fireball consumes the structure as Phillip and Jack roll into the ditch. Off Jack's look to Phillip, we; DISSOLVE TO: FEATHERS Bright red, blue, yellow, the feathers shake as we hear the wail of a native song to the dead. The feathers drop, revealing a face painted in a mask of an animal of the night. The singing becomes louder and, as the face turns out of frame, we ADJUST ANGLE to find ourselves; EXT. CEMETERY - DAY People watch as a troupe of men and women, in native attire, go through a complicated dance of death and the afterlife. The ancient spectacle is contrasted by rows of men in full police dress braid uniform, their rifles at parade rest. Behind them stands friends and associates of Joseph and his family. In front of it all, three open graves. Jack is in the background, dressed in a suit. Even in "civilized" attire, he stands out as a man of the bush. Beside a small podium sit several dignitaries. WILLIAM BADU is an intense Mandela-like man. At the other end of the seating, is M'BUTO, a James Earl Jones type. We recognize him from the photo. Next to M'Buto stands Rashid, the man Adam met in the bar. He still wears his distinctive boots. The dancers finish. Badu steps up to the podium. BADU We are a troubled nation. In the fifteen years of independence from the colonial powers, we have known nothing but struggle from within and without. And, in any struggle for freedom, there must be soldiers who risk death for a dream. Joseph was one such soldier. (beat) His death is a blow to us all. But his dream and determination lives on, as it must, in those of us who wish to loosen the yoke of tyranny. That threat from without, and that tyranny within. He glances in the direction of M'Buto. Nothing obvious to those who are unaware of the power struggle here. BADU (CONT'D) As for his wife and lovely daughter... Saying that they are casualties of the struggle degrades who they are and the evil of their murderers. 31. Badu steps forward to the edge of the grave, picks up a handful of dirt. BADU (CONT'D) Goodbye, my friends. Not in vain. He tosses dirt into the open graves, and walks off. The singers begin a low chant as each member of the audience walks past the graves, paying respects. The honor guard, on command, raises their rifles and fire off their salutes. Jack turns and walks away. He is almost at the gate, when; M'BUTO Jack Andrews... Jack turns to find M'Buto and Rashid. M'BUTO (CONT'D) Such a terrible loss. To us all. JACK Yeah. M'BUTO I'm glad you decided to lead my safari. It will be good for you to get away from all this. JACK I'll be there. M'BUTO This is probably not the right time to mention it, but I will be having a small party for the tourists at my house tomorrow night. Please attend. Jack nods. And, with that, M'Buto walks off toward his limo. Jack starts to turn away, then sees Phillip in the crowd. Jack scowls and walks off. CUT TO: EXT. MALIBU BAR AND GRILL - NIGHT Jack's Land Rover is parked out front. Over this, we hear: JACK To Joseph N'Gau, the biggest piece of shit to bail a buddy out of jail! INT. MALIBU BAR AND GRILL

Jack sits at a table in the center of the room. Everyone else at least a table away from him, either from respect, annoyance or fear. An almost empty bottle of Mescal is in front of him. His glass is raised in a toast. 32. A few other patrons casually raise their glasses. Jack downs the drink in one gulp and pours another. The bottle is almost depleted. Jack bangs his empty glass on the table. The MALIBU BARTENDER walks to Jack's table with a cask, drops a funnel into the neck of the bottle and fills it. JACK Cork it. The Bartender picks the cork off the table, and jams it into the bottle. Jack smiles. JACK (CONT'D) I like a fresh bottle. MALIBU BARTENDER Jack, my friend, maybe you should... Jack holds up his finger to silence him. Then wags it back and forth to admonish him for speaking. The Bartender shrugs and heads back to the bar. Jack picks up the bottle and examines the label, as if appreciating the vintage. A good year. He pops the cork and pours another drink. JACK To Joseph N'Gau, the meanest son of a bitch ever to chase a hyena out of his tent! He downs it. Other patrons follow suit. Suddenly, room becomes deathly silent. Phillip stands in the doorway, dressed in what he would consider appropriate attire for the Washington cocktail set. He takes in the attention and gives the "thumbs up" sign. PHILLIP Hey, brothers. The "brothers" all stand, angry. A roar of laughter is heard. Jack's head is back and his chest heaves as he doesn't even try to control his amusement. He waves everybody back down as Phillip walks over. The laughter ends abruptly with a belch. PHILLIP (CONT'D) You're a hard dude to find, my man. JACK I'm not your man and I didn't want to be found.

Phillip sits as another belch breaks the silence. JACK (CONT'D) Got a little bit of advice for you. (MORE) 33. JACK (CONT'D) This... (thumbs up) ...means this... (the "finger") ...in Kenya. (then; calling out) Hey! Awfully quiet in here! He's a black American! PHILLIP (quietly) Afro-American, actually. JACK (loudly) To Phillip, the Afroist American that ever... what have you ever done? Jack shrugs and lifts his glass in a toast, then refills his glass as well as another for Phillip. JACK (CONT'D) To Adam! The son of a bitch still owes me seventy shillings! Phillip doesn't drink. JACK (CONT'D) You don't like Adam? PHILLIP I don't know Adam. JACK My best friend. A ranger. Killed last week by poachers. A beat. Phillip nods, raises his glass, and takes a drink. He winces at the aftertaste. Jack smiles. JACK (CONT'D) You're okay, Phillip. PHILLIP You're drunk. JACK That's why you're okay. If I was sober, I'd probably kick your ass. PHILLIP Why? JACK No reason. I'm just funny that way. (MORE) 34. JACK (CONT'D) (beat) I figured you'd be back in Washington by now, jerking off with your State Department buddies. PHILLIP Soon. Who is this guy M'Buto? JACK How'd you know about him? PHILLIP You showed me his picture and I saw him at the funeral. With the dude in the cowboy boots. JACK That's Rashid. He's one of his tribal flunkies. PHILLIP He's a big flunky. So, tell me about M'Buto. JACK M'Buto... is this country. His tribe owns half the government and is working on the rest. PHILLIP He's the chief of this tribe? JACK Nope. Just the most powerful. They follow his lead. PHILLIP Like the gangs back home. JACK Yeah, right. Except your little "gangs" can't take over the government. M'Buto can. He will, too. That is, assuming Badu doesn't push him out. PHILLIP Badu...? JACK The guy who spoke at the funeral. He's for all the corny stuff, you know; freedom of choice, social reform, non-tribalism. The usual bullshit. 35. PHILLIP What's M'Buto's connection to the poachers? JACK He owns them, too. What's the interest all of a sudden? PHILLIP I'm a paper pusher. We like to fill in the blanks. (beat) I'm sorry about your friends. JACK (shrugging) Yeah, so am I. (a toast) To Friends....! He takes a long beat, peering into his glass. Then; JACK (CONT'D) Fuck 'em. He drinks. A DRUNK walks near the table and stumbles, spilling his drink on Phillip's jacket. Phillip jumps up. PHILLIP Hey! Hey, what's the deal here? He stands. The Drunk has about five inches on him. PHILLIP (CONT'D) But it's cool, okay? I'm fine, the jacket's fine, and you... well, my friend, you look fine, too. DRUNK Your jacket's dirty. Real dirty. He roughly wipes it, transferring dirt from his hand to the jacket. Phillip holds a cautious hand toward Jack. PHILLIP Don't get excited. I can handle this. Jack could care less. Phillip smiles at the drunk. PHILLIP (CONT'D) Thank you, it's fine. Thank you.

He sits down as the Drunk heads off toward the bathroom. 36. PHILLIP (CONT'D) I don't suppose this place has any club soda? JACK Nope. You have much money on you? PHILLIP Twenty shillings. Damn, I have to run some water on this. Excuse me. He gets up and heads toward the bathrooms in the back. INT. BATHROOM - NIGHT Phillip wets a towel and... is jumped from behind. The Drunk and his CRONIE throw a towel over his head. They pop him a couple of times in the stomach then throw him against the wall with a "Thud". THE BAR Jack is paying the Bartender. The "Thud" plays loudly through the wall. Jack shrugs. JACK He only has twenty shillings. BATHROOM The Cronie opens the window and they stuff Phillip through it. EXT. ALLEYWAY - NIGHT Phillip plops on the ground, tosses the towel off his head and looks up... into the eyes of the Lieutenant. The Lieutenant has two other men with him. PHILLIP Oh, Lord... BAR The Cronie and the Drunk rush out of the bathroom and head for the front door. Jack watches them with mild interest. ALLEYWAY One of the men is holding Phillip up against the wall as the Drunk and Cronie join them.

LIEUTENANT Tell me about Jack Andrews. 37. PHILLIP Big guy... doesn't clean his nails a lot... Ugly, if you ask... One of the men hits Phillip in the stomach. He folds. LIEUTENANT Do you know how much your life is worth, American slave boy? PHILLIP (gasping) I don't know the conversion rates... The Lieutenant picks up a bottle and breaks it. LIEUTENANT I saw this in an American movie... I like American movies. The Lieutenant smiles and pulls back his hand, ready to jam the jagged glass into Phillip's face. PHILLIP Oh, God... The Lieutenant's hand darts forward... and stops as a powerful fist grips his wrist... and twists. The sound of cracking bone echoes as the Lieutenant flies into the wall. Jack turns to the other men. Forgotten, Phillip drops. JACK Okay, he's not worth the effort. Go rob someone else. PHILLIP (weakly) FYI... That's the guy I saw at your friend's house. Jack turns with a look that could freeze snake blood. The worst thing a thinking man could do is take this man on. No one could accuse these men of thinking too much. They rush Jack. Phillip watches, wide eyed, as Jack moves with graceful, blurring speed. Two of the men race off. The Drunk and the Cronie are determined to take Jack down. The Cronie kicks wildly at Jack, who deflects it. The man's leg goes through the wall, shattering the wood planks into sharp splinters. Jack drops his elbow into the man's knee, then lifts the man's leg and turns. The Cronie flies to the side.

The Drunk charges him with a two-by-four. Jack uses a forearm block, breaking the board, grabbing the remaining board and using it as a weapon, jabbing and swatting the man. 38. Jack spins the man around in an arm-lock that unjoints him like a chicken, and throws him against the wall, onto a large splinter of wood. The Cronie jumps Jack from behind, his hand over Jack's shoulder holding a hunting knife. In a simple, but precise motion, Jack jams his elbow into the man's sternum, squashing his heart against his backbone. He drops to the ground, dead. The Lieutenant is nowhere to be seen. JACK Come on. Jack pulls Phillip to his feet. PARKING AREA Jack drags Phillip to the Land Rover. PHILLIP Hold on! We can't just run away. They were going to kill me! We have to report this to the police! JACK Consider it reported. That guy with the bottle was the police. Get in. Phillip obeys. CUT TO: INT. LAND ROVER - NIGHT Jack drives through the streets of Nairobi, keeping his eyes on the rear view... just in case. PHILLIP How long have I been here? Less than a week? And I've been kidnapped from the airport... driven to an elephant massacre... seen a family murdered... and almost got my face turned to mush by a moonlighting cop! This has got to be a record somewhere. JACK Welcome to the real world. PHILLIP Spiffy place you've got here!

JACK Calm down. 39. PHILLIP Calm down? Nothing will get me more excited than someone like you telling me to calm down! JACK Well, get a grip on it fast. Tomorrow night is M'Buto's pre-Safari party. PHILLIP Party? I am not going to this party. I am not going on a safari, got me straight on that? JACK I thought you wanted to help. PHILLIP No, no. That was the other Black American you meant to kidnap. I want to grow old and grey with a fine, sexy woman and working equipment to enjoy the same. JACK Useless piece of shit. PHILLIP Useless? I'll show you useless. Pull over. Here. EXT. DESERTED STREET - NIGHT The Land Rover pulls over. Phillip and Jack gets out. PHILLIP The whole reason I came looking for you in the first place was for this. He tosses the pouch onto the hood. Jack picks it up. PHILLIP (CONT'D) When your policeman friend ran into me at the house, he dropped this. I picked it up and forgot about it. JACK You forgot about it? PHILLIP Take me to court, I was preoccupied.

Jack opens it and pulls out the photo and the elephant. 40. PHILLIP (CONT'D) One of the guys in the photo is that M'Buto dude. But, the other guy is the interesting one. Know who he is? I know who he is. JACK Carl Vandermeison. He works for the Italian Red Faction as a high tech weapons consultant. PHILLIP And the Red Faction is a terrorist front for the Soviets. Vandermeison's been tied to several bombings in Italy and West Germany. JACK How do you know all this? PHILLIP I'm in the State Department, we do get briefed on this stuff now and then. Jack is staring at the photo. In the photo, we see M'Buto shaking hands with a man. In the background, in the distance, is a mountain range. Jack touches them with his finger. JACK Here... PHILLIP Mountains...? JACK The Chandalua Mountains. That's where M'Buto's secret is. And that's where our safari is going to take us. PHILLIP Repeat... your safari. When you get back, give me a call, and I'll see what I can do. My involvement in the Jack Andrews affair is terminated. My hotel, please. And he gets back into the Rover. Jack takes another look at the photo, then puts it and the ivory elephant back into the pouch and gets into the Rover.

CUT TO: INT. LOUIE DELGADO'S OFFICE - DAY He sits as before, reading reports. A knock at the door. 41. LOUIE Come... A CLERK enters the room. CLERK Sir, G-2 sent this up. It's a U-2 overflight photos you asked for. LOUIE Hmm? Oh, the African shots. Yeah, let me see it. The clerk hands him an envelope and Louie pulls out a photograph. He puts it on the desk and inspects it. LOUIE (CONT'D) I'll be damned.... Jack, you old son of a bitch... we would have never thought of looking there... (to clerk) I'll keep this. Louie signs his name on the envelope and hands it to the clerk who exits. Louie returns his scrutiny to the photo. CUT TO: INT. M'BUTO'S MANSION - BALLROOM - NIGHT A roasting gazelle rotates slowly on a spit in a huge, Hearst Castle type walk-in fireplace. PULL BACK to discover M'Buto, resplendently tuxedoed and appropriately framed against this image of ornate savagery. He pours a drink from a brandy decanter. M'BUTO To the wilds of Africa! He toasts as various voices are raised in agreement. We now see the whole, ostentatious room. M'Buto is addressing his guests, a collection of ten to fifteen tourists of various nationalities. A strikingly beautiful woman, TASHA, stands near M'Buto, obviously his "woman". All are attired in evening wear, appropriate for the occasion. The numerous servants silently and efficiently perform their duties. Jack stands off to one side, dressed in a neat version of his jungle wear. Phillip would be impressed, if he were here. Which he isn't. M'BUTO (CONT'D) I've traveled a hundred times on my safaris and never do I feel a lack of adventure. 42. MAGGIE (grumbling) "Adventure" my butt. M'Buto smiles broadly at MAGGIE, a little, freckled face girl of thirteen. Her mother, DIANE MACON, is a vivacious woman of thirty five. DIANE As you were, Maggie. M'BUTO But it is an adventure, Miss Townsend. The untamed African wild, shown to you as no one but Jack Andrews can. The Argentinian, JULIO LATMIER, gives an all encompassing glance to the rest of the group. JULIO Please forgive my ignorance in such matters, but wouldn't an African be better suited to lead an African safari? JACK (bristling) I am an African. M'BUTO Mr. Andrews is the best at what he does in my country. No, Senor Latmier, we are extremely fortunate at having prevailed upon Jack. Finally to lead one of my safaris. DIANE I'm sure we're in fine hands. She gives Jack a look and a smile. Jack reacts as Jack would... not at all. At that moment, the butler escorts Phillip into the room. PHILLIP Ah! Forgive me for being late! Affairs of state, you know. M'BUTO Mr. Lansing. We were just getting to know one another. Phillip grabs Jack's hand, pumping it vigorously.

PHILLIP Phillip Lansing, Laison Officer for Developing Countries, State (MORE) 43. PHILLIP (CONT'D) Department, United States of America. Perhaps you've heard of us? MAGGIE (to herself) Oh, brother... Everyone else is bemused at this seemingly foppish buffoon. At that moment, Rashid appears at the door, catching M'Buto's eye. He looks at his watch. M'BUTO Well, I am afraid I must attend to an international phone call. Please, enjoy the hospitality of my humble home. (dramatic) And, savor the last few hours of civilization! He toasts their mild applause and exits, followed by Rashid. The group breaks into smaller units. Phillip accepts a drink from a servant as Jack turns and speaks to him in a low tone. JACK I thought you weren't coming. PHILLIP Don't think so much. Parties are what I do. JACK What about safaris? PHILLIP Sorry, Jack. Shmoozing is my life. Safaris are not. At that moment, Diane walks by them toward the snack table. Phillip takes the initiative and extends his hand. PHILLIP (CONT'D) Hello, there. Phillip Lansing, Laison... DIANE I heard. Diane Macon. Diane, please. (shyly; to Jack) I wanted to apologize, Mr. Andrews. Despite her attitude, my daughter is looking forward to this. I, on the other hand, wonder if I shouldn't have stayed home with a bad case of intelligence. (MORE) 44. DIANE (CONT'D) (realizing) Not that there's anything wrong with your country! It's beautiful. What I've seen of it, anyway. (then) If you'll excuse me. She quickly moves over to the table, not without a backward glance to Jack, which is not missed by Phillip. JACK (to Phillip) We've gotta' check this place out. PHILLIP We? Where you gettum, we, white man? Besides, don't you know what just went on here? That girl was tripping over her lips trying not to say something. Dig? JACK She wasn't coming on to you, so get that out of your mind. PHILLIP Haven't you ever fished? Zap, you cast the line, plop, it hits the water, bang the fish grabs and zing, you haul it home. She just cast the line. Not at me, at you. Go get 'em, flounder. JACK That's not why we're here. PHILLIP And what, my African friend, am I supposed to be snooping for? JACK Anything suspicious. PHILLIP The guy has stuffed monkey tails hanging in the hallway, what do you define as suspicious? Jack clenches his fist in controlled anger. PHILLIP (CONT'D) Okay, I'll keep my eyes open. But I am not involved. He throws his glance deliberately over to Diane at the table then walks off. 45. Jack takes a beat, then walks over to the table. For a snack. Diane is considering the cuisine. DIANE I hate to sound like a tourist, but, let's face it, I am. This is zebra... this is wildebeest, isn't it? But, this... this I haven't figured out. JACK You don't want to know. DIANE Not from your four major food groups, I take it. JACK Not even close. (beat) Excuse me for asking, but... "As you were"? That's not a phrase a lot of women know. DIANE (laughing) Maggie brings out the drill sargeant in me sometimes. We're a military family... Or, rather, we were. My husband was killed in Vietnam... She trails off. An uncomfortable moment. Then; DIANE (CONT'D) How about you? Military? JACK You might say that. DIANE It figures. Excuse me. With that, she walks away from a puzzled Jack. CUT TO: INT. MONITOR ROOM - NIGHT This is a dark room with small security monitors. Each screen shows a different part of the house. Several screens switch back and forth between cameras. Security guards watch the screens carefully. In one camera, Jack walks over to talk with some more tourists.

In another, Diane and Julio can be seen. In one, Phillip is examining an urn. 46. Near the back of the room sits the Lieutenant in a bare wicker chair. Rashid stands behind him. M'Buto enters and sits in a swivel chair in front of the Lieutenant. M'Buto's face is calm, almost fatherly. He speaks in a voice that is kind, persuasive, designed to elicit willing confession. M'BUTO I hear you ran into some trouble. Why did you not come to me? M'Buto puts a consoling hand on the Lieutenant's hand. A beat, then he points to a screen which shows Phillip examining the leaves of an elaborate African plant. M'BUTO (CONT'D) (re: Phillip) Why did you attempt to kill this man? LIEUTENANT I was carrying out your order at the Police Chief's house when he saw me. M'BUTO My child... my child... Your heart was in the right place. But, your actions were misguided. (beat) You understand the problem... M'Buto speaks hypnotically, confidentially. How can you help but love this man like a father? M'BUTO (CONT'D) I am a man who plans meticulously. If you remove one of my pawns, you alter my entire gameplan. He indicates Phillip on the screen. Phillip is examining a stuffed lion's head. M'BUTO (CONT'D) These people... this man is one of my pawns. Phillip touches one of the lion's teeth to test its sharpness. He reacts in pain. M'BUTO (CONT'D) And he did this to you? LIEUTENANT Not him... that man stopped me! He points to the monitor that shows Jack. M'Buto leans back, a flicker of surprise on his face. 47. M'BUTO Interesting... very interesting. He pats the Lieutenant's hand reassuringly, then turns toward the monitors. The Lieutenant smiles, a nervous release of his fear. Suddenly, Rashid's huge hands grab his face; one on the jaw, the other on the top of his head. His face register his shock. The light from the monitors cast an eerie glow on M'Buto's face as we hear the sound of snapping bones in the background. He slowly shakes his head. M'BUTO (CONT'D) Children... CUT TO: INT. M'BUTO'S INNER SANCTUM - NIGHT - BLACK Light pours in from the hallway as a door is opened. The silhouette of a man turns on the lights. Phillip's reaction is incredulous. PHILLIP Oh my God...! The light reveals we are in a room which could pass for a modern day Pharoah's burial crypt. The walls are a collection of personal mementos hanging side by side with Rembrandts and Picasso's. In a corner, is a glass enclosure made of reflective glass. The most striking feature of the room, is a huge ivory display cabinet, several shelves high and as many units long. It barely holds all the personal trophies and ivory carvings M'Buto has collected. Phillip silently closes the door behind him. PHILLIP (CONT'D) M'Buto... You're a classy man, I'll give you that. First rate. A large painting stands out among the masters as the only one a museum curator might not recognize. But Phillip does. It is a lifesize, Rubinesque nude of Tasha, in all her rosy, blushing glory. Phillip steps back, folds his arms, gives it his artistic scrutiny, and grunts in agreement. A true connoisseur. TASHA (dry) You like the tits.

Phillip spins to make out Tasha seated in a corner. 48. PHILLIP (beat) Just like the Mona Lisa's eyes, they follow you around the room. Tasha laughs abruptly, despite herself. PHILLIP (CONT'D) If I deny it, you're going to think I don't like what I see. If I agree, you're going to think I'm a macho male bastard. Well, I am a macho male bastard... and much to my credit, I'm embarrassed. TASHA Well done. PHILLIP So... Are you a model? TASHA I used to be. A long time ago. Are you a thief? PHILLIP Of hearts, perhaps. (off her look) Boy, did that sound Cary Grant. TASHA Then that would make me Grace Kelly, would it not? PHILLIP Depends on the movie. Depends on the scene... They share a smile... M'BUTO Closed doors do not make a statement, Mr. Lansing? M'Buto enters the room, a bit perturbed. TASHA Mr. Lansing remarked to me his love of Art. I could not resist sharing with him. PHILLIP Uh, yes. Incredible! Rembrandt... Goya... Matisse... This must have cost a fortune! 49. M'BUTO It could have. But I bypass the Jew bastards who control the open market. Private and discreet connections offer so much more. Phillip raises an eyebrow at the anti-semetism, but decides to pass on it... for the moment. M'BUTO (CONT'D) So, you are a brother connoisseur of art? PHILLIP Well, I may know art, but I also know what I like. Tasha shoots him a look at the private joke. PHILLIP (CONT'D) (going on) Not just the paintings, but the sculptures... the ivory... He walks over to the ivory shelves. Something catches his eye. A large elephant trunk carved into an elaborate bridge. Along the top of the bridge, travels a line of ivory elephants, one behind the other. They are tethered together by a strand of jade running the length of their bodies. And, in the middle of the line, is a gap... as if one of the elephants was missing. PHILLIP (CONT'D) I'm very impressed. I thought the sale of Ivory was illegal... M'BUTO (dismissing it) These are old pieces. Besides, Art should transcend the legalities of man. Every collection has a heart. This is my African heart. Come. M'Buto motions Phillip to the glass booth. M'Buto hits a hidden button and the light in the display comes on, illuminating the painting inside. Phillip's jaw drops. PHILLIP Oh, my god...! Inside, on a pedestal, is one of Van Gogh's sunflower series. The colors fairly bursting from the frame. Phillip can barely contain his excitement. PHILLIP (CONT'D) This is it! (MORE) 50. PHILLIP (CONT'D) Van Gogh's final sunflower! The lost painting of the series! M'BUTO (amused) You recognize it. PHILLIP Recognize it? When other kids were trading baseball cards, I was collecting Van Gogh picture prints from Sugar Daddy suckers. How did you ever... oh, wait... Phillip looks closely at the painting. PHILLIP (CONT'D) (disappointed) Van Gogh may have been crazy, but he did not use spray paint. (quickly) But, otherwise it's a great reproduction. M'BUTO (stiffly) Everything in this room is an original. I merely improved upon it. PHILLIP (incredulous) You... you improved on Van Gogh??? That's like... that's like... (a loss) ... like improving on a Van Gogh! What gives you the right to destroy a classic? For all his savvy and tact, Phillip has finally found his button. M'buto is frosty. Tasha bites her lip. M'BUTO The last time I checked, Mr. Lansing, I owned this classic. Tasha, attend. Tasha takes his arm and they walk out of the room, leaving the door open. Phillip takes a enraged moment, then; PHILLIP (re: Ivory) Love your "tchach-kes"! He takes a look back, then storms out of the room. CUT TO: 51. INT. M'BUTO'S MANSION - BALLROOM - NIGHT Jack is talking to a small group of the tourists, but his eyes keep wandering over to Diane on the veranda. She sits with Maggie and Julio. Jack excuses himself from the group and heads over toward her. She glances in his direction, but makes no indication that she is aware of his approach. Suddenly, Phillip pops out of nowhere and grabs Jack. PHILLIP I gotta' talk to you. Jack glares at him but allows himself to be pulled away. HALLWAY Phillip pulls Jack into an unoccupied corner of the hallway. Phillip is ready to climb walls. JACK This'd better be good. PHILLIP The man is a maniac! A jerk! He painted over a Van Gogh! No, more than that. He thought he could "improve" it! JACK (Mildly) Well? Did he? PHILLIP (outraged) Did he? He's reduced a classic representation of mankind's finest artistic accomplishment into graffiti! JOSHUA Phillip... PHILLIP When you get back from this safari, you call me. Day or night, don't stop to take a bath or get a drink, call me, tell me what you found. I want this guy's butt in jail! JACK Drop it about two octaves and calm down.

PHILLIP He's also a prejudiced twerp. I have friends... a lot of friends who are Jewish. 52. His watch alarm goes off again. PHILLIP (CONT'D) Darn it! He shuts it off and pops a malaria pill in his mouth. JACK What exactly did you find? PHILLIP In this room full of priceless art... stolen art, most likely. I found a wall full of ivory. Poached Ivory, I bet. And, in the middle of this collection of Ivory, I found one empty space... JACK Large enough for a little, striped elephant? Phillip touches his nose. PHILLIP On the nosey. CUT TO: MONITOR ROOM - ON MONITOR Phillip and Jack are on the screen. M'buto watches, his face illuminated by the monitor's light. Impassive. Evil. DISSOLVE TO: INT. PHILLIP'S ROOM - NIGHT The door opens and Phillip enters, flipping on the light. This is a typical Hilton-type room. Phillip closes the door and takes a deep breath as he begins to unfasten his tie. He walks over to the phone and dials a number. PHILLIP Hello? This is... Yes, Jambo right back at you. This is room 201... yes, the "Penthouse" suite. I'd like to make a long distance call to the United States. Right. He sits on the bed and removes his shoes.

PHILLIP (CONT'D) Area code 2-0-2, 5-5-5-7-8-2-1. He pulls off his coat, and hangs it nicely and precisely. 53. PHILLIP (CONT'D) Hi, Marge, is Dad in?... Phillip Lansing, Junior. (beat) Yes, his son. Ha, ha, very funny. He shakes his head. He begins to pull off his shirt and fold it, as the coat, nicely and precisely. PHILLIP (CONT'D) Where is he?... Uh, huh... Senate hearings? Tres impressive... No, no, nothing important. Even the socks get the same treatment. PHILLIP (CONT'D) Marge, tell him I'll be here a few weeks longer than anticipated... Yes, it's a lovely country. Wonderful... Phillip unbuckles his pants, pulls out the belt, and rolls it up. He opens the drawer to put the belt away when he sees the book his father gave him. The ribbon still bound tightly about it. He picks it up. PHILLIP (CONT'D) He can reach me at the Consulate or at my hotel... any time. Day or night. Thanks, Marge. (then) Marge? Marge, hold on. Tell him I'll call him back when I get in my office... about seven hours... Well, tell him to cancel it. I want to talk to him. (looking at diary) He won't mind. He hangs up the phone. Finally, he pulls off his pants and starts to fold them precisely along the crease. He stops for a beat, then, impulsively, he tosses the pants onto the chair in a heap. Phillip enjoys his brief moment of abandon, then rushes to hang them properly. ANGLE - ON TABLE Phillip hums a little tune as he carefully lays out tomorrow's necessities. His wallet and keys; handkerchief; cologne; deodorant; dental floss; etc.

WIDER ANGLE - THE ROOM Phillip lays in bed, wearing his silk pajamas and matching night mask on his forehead. Picking up his brass clock, he winds it and checks the alarm. 54. Then, he opens a pill case and takes a sleeping pill. Finally, he pulls the mask down over his eyes and turns out the light. OVER BLACK A beat, then we hear the alarm clock ringing loudly. FADE UP: CLOSE - PHILLIP'S ALARM CLOCK. Phillip's hand comes into view and swats at it, shutting it down. The hand relaxes on the cloth beneath the clock. A beat, then the hand starts to feel the fabric, looking for some sort of recognition. WIDER - ON PHILLIP Still in his pajamas and mask, he reaches up to remove the mask. He blinks at the sun shining in through the window. Then, his eyes bolt open as he realizes it isn't his hotel window. He sits upright to find he is in; JACK'S LAND ROVER Jack is driving. Phillip has been laid out carefully in the back, with all his belongings scattered about him. He looks around, his mouth open. He looks out the window. EXT. AFRICAN VELDT - DAY A huge, wide expanse of the African countryside extending into the distance. A few giraffes, a couple of hyenas, a warthog, and other assorted fauna. In the distance, we can see five Land Rovers and two Mercedes trucks driving along an old trail. Then, we hear the distant sound of a scream... Phillip is coming to terms with his situation. DISSOLVE TO: EXT. FIRST CAMP - DAY The sun will soon be disappearing behind the distant mountains. Porters move back and forth, getting the campsite ready. The tourists try to stay out of the way, each one armed with a camera and binoculars. Diane stands with Maggie, who is scanning the horizon with her pink binoculars. Diane, however, is scanning Jack, who is issuing orders to the porters. Maggie notices and deliberately pulls her attention away.

Suddenly, the sound of a helicopter is heard. They all look up as it flies in low over the trees and sets down lightly. Jack watches as Rashid and M'Buto go out to it and confer with the pilot. They seem to be agreeing with each other about something as the pilot ties down the blades. 55. Jack looks over to see Phillip standing by himself, looking out over the veldt, filing his nails with the largest Swiss Army knife you're ever to see. Jack walks over. JACK I wouldn't even think about it. It's eighty kilometers of snakes, lions, rhino and the occasional scorpion. Phillip turns to him, pointing the Swiss knife at him. PHILLIP I'm a hostage! You'd better kill me now, 'cause I am going to make sure you pay for this. JACK Watch where you point that thing, okay? Look, I'll kill you later, if you want. Right now, I need you alive. Phillip jams his Swiss Knife into its holster on his belt. PHILLIP Why? You said I was totally useless to you. JACK You're a tripwire, Phillip, that's all. So, why don't you just sit back and enjoy the safari? PHILLIP What did you call me? JACK Never mind. You're not going to like it. PHILLIP Oh, what the heck. I've been having too much fun as it is. JACK M'Buto wouldn't dare do anything to a U.S. diplomat. He knows he would have to answer for it. Trust me, you're just along for the ride. PHILLIP Trust is not your strong point right now. Not with me. 56. JACK (beat) I don't really care. Think about what I said. He moves off. PHILLIP (to himself) Man, if I could catch that dude in an alley alone... (then) He'd beat the daylights out of me, that's what would happen. He pulls the Swiss Knife from its holster, takes out the plastic toothpick and delicately skims his teeth with it as we; DISSOLVE TO: SUNSET A huge, orange ball lowers itself onto the plains as we hear the sound of a fire crackling and clinking silverware. CUT TO: EXT. DINNER TENT - NIGHT Armed porters walk the grounds around the large tent. Next to the tent, a large cooking fire blazes away. The men tending the cooking are dressed in chef's white uniforms. A man in a waiter's outfit picks up a tray of meat and turns to enter the tent. We follow him into; INT. DINNER TENT - NIGHT Entering this tent is like leaving the wilds of Africa for a fine restaurant. Pristine white tablecloths cover the one, long table that seats our guests. Waiters stand at the ready. The food is brought in and placed on a small brazier, then onto the individual plates by another chef. The tourists are talking animatedly to each other, in anticipation of the adventure to come. All at once, fifteen alarm watches begin their gentle reminders. The tourists pop malaria pills into their mouths and continue talking. Julio sits next to Diane and is doing his best to engage her attentions. Phillip sits next to Maggie. Jack silently watches Julio and Diane. Phillip is carrying on two conversations at once, being the social butterfly that he is. Even so, he can't help but notice Maggie when she slips one of the salt shakers into her pocket. He is not the only one who has seen this. Diane watches. She says nothing. DISSOLVE TO: 57. EXT. CAMPFIRE - NIGHT A large bonfire sends sparks up into the inky black sky. The silhouettes of guards can be seen moving about in the background. Near the fire, several folding chairs have been set up and some of the tourists are having evening tea before retiring. Tasha stands next to M'Buto as Phillip wraps up a story. PHILLIP "Red phone? There has to be a red phone." And the Premier said, "Mr. President, if there was a red phone, don't you think we'd be using it right about now?" Laughter. Phillip loves the attention... especially the attention of Tasha. JULIO Certainly you don't condone such behavior in your government, Mr. Lansing. PHILLIP Condone it? I revel in it! More laughter. He gives a slight wink to Tasha. M'BUTO I, for one, must admire the American spirit and zeal. The struggles of Communism has proven the leadership of the Capitalistic elite. PHILLIP Well, what can I say? We have our stuff together. Give us a little Democracy and freedom, and we do wonders. M'BUTO The problem is that you Americans toss the word "freedom" around as if it was merely a fragrance on the wind. Your freedom has no taste; no meaning other than a word. PHILLIP Excuse me? Did the logic bunny hop south for a moment? Have you ever heard of Civil Rights? Selma, Alabama? Martin Luther King? 58. M'BUTO Not to insult you, Mr. Lansing, but you are obviously a man of privileged wealth. Don't hide behind a struggle you never participated in or even bothered to understand. PHILLIP My father was arrested marching to Selma... M'BUTO Your pride in your father is well justified. But, he did you a great disservice. We fought for ten years to free our country. The taste of our blood is still fresh. At that moment, Jack walks up carrying his rifle. JACK Everything's secure. From this point on, anyone who wants to go anywhere at night has to call a guard. Just wave your flashlight, one will show up. DIANE Is there really any danger of getting lost? JACK No, Ma'am, probably not. But I don't want anyone bumping into the local wildlife in the dark. MAGGIE (brightening) You mean, like, lions or rhinos? JACK Also snakes, scorpions and all sorts of creepy things. MAGGIE Too cool. M'Buto stands. From nowhere, Rashid is suddenly at his side, armed. M'BUTO Tomorrow is to be quite a day. I must take my leave. Good night. They all reply as he and his entourage move off. 59. DIANE Well, he's right. We'd better get to bed. Mr. Andrews, could you... get us a guide to our tent? PHILLIP Get a guide? He is a guide. Jack shoots a look at Phillip. Phillip raises an eyebrow slightly and nods toward her. DIANE If you wouldn't mind, Mr. Andrews. Jack nods and he, Diane and Maggie walk into the darkness. Phillip watches them go with a smile. Then, he reaches for his Swiss knife... and finds an empty holster. CUT TO: EXT. DIANE'S TENT - NIGHT Jack guides Maggie and Diane through the moonlit landscape to the front of the tent. A Coleman lantern sits unlit on a table outside. DIANE Well... thank you very much, Mr. Andrews. JACK Sure. You're probably going to need this thing lit. You want to hold this, Maggie? He holds out the flashlight, which she doesn't take. MAGGIE No. I'm gonna go to bed, now. She turns and exits into the tent. Diane takes the flashlight as Jack works the lantern. DIANE She's a little overprotective. It's only been a couple of years since her father died. JACK You mind if I ask you something? Back at the party you asked me if I was military. When I said "yes", you said "it figures". Then you walked off. 60. DIANE I apologize about that. (beat) When I first met my husband... Ted... I was attracted to him right away. There was a certain danger about him that drew me in. Do you understand? JACK Yeah. You don't have to go on. DIANE That may be the problem. I don't even know if I could... or should. (beat) The only thing I really know for sure is that I still have Maggie. And we need each other. (then; smiling) I'm rambling. JACK No, you're not. You're honest and that's something to be respected. In the darkness, anything is possible. Including a kiss. It may be light and brief, but it isn't lacking in feeling. Awkwardly, Jack goes back to the lantern. It ignites, flooding the area with light. If anything, Diane looks sexier now than in the moonlight. A long beat as they stand there, then; DIANE If you don't mind, I'd rather not pursue this... right now. JACK Sure. But don't expect me to forget it happened. DIANE (smiling) I hope not. Good night... Jack. He tips his hat and steals off into the dark. Diane turns and goes into her tent. INT. DIANE'S TENT The light from the lantern outside gives us our illumination. Maggie is on her cot, turned away from the tent flap as Diane enters.

DIANE (softly) Maggie...? 61. No answer. Diane sits on her cot and begins to remove her shoes. From this angle, we can see Maggie's eyes are open. The bare light flickers in them as if they were moist with tears. On the table next to her cot we can make out a huge Swiss Army knife. CUT TO: INT. PHILLIP'S TENT - NIGHT The harsh light of a Coleman lantern pours in the front flap as Phillip comes in. PHILLIP Great... no electricity... no TV... no air conditioning... Suddenly, a large form darts from a corner of the tent and pounces on Phillip. His muffled cry is heard as a flashlight pops on. Jack holds Phillip from behind, one hand over his mouth, the other holding the flashlight. JACK It's me. PHILLIP Don't ever grab me like that unless you buy me dinner first! Jesus! I take it you didn't score with Diane? JACK Come on. PHILLIP Excuse me? JACK I want you to look at something. PHILLIP Fine. Bring it in, whatever it is. (silence) Darn you. Resigned, Phillip follows Jack to the rear of the tent where Jack has already made a slit in the canvas. PHILLIP (CONT'D) But, I do have air conditioning now... And he follows Jack.

CUT TO: 62. EXT. BEHIND TENTS - NIGHT Jack leads Phillip behind the tents. A mixture of snores can be heard as they pass by each one. One tent issues much more than mere snores. The moaning, groaning sounds of intertwined passion are heard... along with a few French words. Phillip stops abruptly, sneaks a peek into the window until Jack grabs him and pulls him along. EXT. CLEARING - NIGHT - NEAR HELICOPTER Two guards stand near the helicopter, smoking. The only light is from a Tiki pole nearby. Phillip and Jack watch from the bushes. JACK As far as I can tell, the fuel tank is two thirds empty. No one leaves Nairobi for the bush without a full tank. If he came directly from the city. PHILLIP So? Maybe he went joyriding. JACK Or, maybe, he flew out to the Chandalua Mountains and back. It's worth a look see. PHILLIP Fine. What about Laurel and Hardy there? JACK I don't know... I just need a few minutes. PHILLIP I can imitate a lion's roar. (off his look) It's not a talent I brag about... JACK A lion's roar. PHILLIP Yeah. Wouldn't they back off? JACK (beat) They'd do something. Give me two minutes to get in place. He moves off. Phillip looks at his watch. 63. The guards are still milling about, fairly bored. Jack moves toward the tail section of the chopper. Phillip puts his hands up to his face, cupping his mouth. Jack is in position. The sound of a lion's roar is heard... if that lion had a smoker's hack. Jack shakes his head. The guards stiffen and turn toward the source of the sound. The roar is heard again... louder and much better. Suddenly, Phillip bolts from the brush, running like a madman. Behind him, a LEOPARD takes a few steps into the light and retreats. Confused, the guards react slowly as Phillip runs for the chopper, jumps in, and shuts the door. Jack is on the guards before they can react. Silently. Quickly. In seconds, they are on the ground. Jack tries the handle. Locked. JACK (CONT'D) (whispering; to Phillip) Open up. Phillip looks widely about for the leopard. Jack leans over and grabs one of the guards and rolls him under the chopper. JACK (CONT'D) He's gone. Open up. Slowly, Phillip opens the door. He still has about three pints of adrenaline to work off. JACK (CONT'D) Good work. PHILLIP Did you see that? He was as big as a Buick! JACK Next time you do a mating call, be prepared to carry through. PHILLIP No kidding? That's what I did? Jack rolls the other guard under the chopper. PHILLIP (CONT'D) Did you kill them? JACK No. Move over. 64. Jack pushes him over and gets in. INT. HELICOPTER - NIGHT The interior is what you would expect for M'Buto's personal helicopter. The pilot and co-pilot seats are in a joining compartment. Jack reaches into the pilot's map bag and pulls out the maps. PHILLIP What are we looking for? If anything? JACK You got it. Anything. Like, maybe, a flight map to whatever it is he has up ahead. Phillip moves into the back, looking. Jack is frustrated as he looks at the maps. JACK (CONT'D) Nothing... these are all basic flight plans. Shit. The pilot must... PHILLIP Whoa... what have we got here? Jack turns to see Phillip dragging a large box from a compartment in the rear. Phillip tries to pry open the box with his nails, but tears a nail. Jack hands him a knife. Phillip opens the box. Inside are dozens of ammo boxes. JACK Seven point six two's... AK-47 rounds. It's what the poachers use to kill elephants. PHILLIP I don't know a lot about elephants, I admit, but isn't this a bit of overkill? There're at least ten more of these crates back here. JACK This is enough for a small army. Doesn't make sense. PHILLIP You said the guy wants to rule the country. Maybe he's planning a revolution or something.

JACK No... that's not his style. He'd lose, anyway. It's a mystery. Put it back and lets get out of here. 65. EXT. CLEARING - NIGHT - NEAR HELICOPTER The door silently opens and Jack and Phillip step out. Phillip eyes the guards. PHILLIP Are you sure you didn't kill them? JACK Positive. They'll be up and around in an hour. (beat) Good job. I mean it. Work on the lion bit, though. As they move off, Phillip gives Jack the "thumbs up" to his back. A beat, then something moves near camera. It is the profile silhouette of Rashid. Hold on this, then; CUT TO: EXT. AFRICAN VELDT - SUNRISE Another beautiful day. Various shots as the African plains come to life; daylight animals rouse themselves from sleep, yawning and stretching. A hyena and her cubs run for cover as a Rover passes quickly by. DISSOLVE TO: THE SAFARI The vehicles pass slowly past a herd of Cape Buffalo. The tourists stand up through the open tops of the Land Rovers, taking pictures. DISSOLVE TO: GIRAFFES As they run majestically, almost as if in slow motion, in front of the lead Rover, which is driven by Jack. DISSOLVE TO: HIPPOS They run for the water as the safari drives along the river bank then plunges through the river at a shallow point. Crocodiles roar at the intrusion. DISSOLVE TO:

DENSE THICKET The vehicles crawl through the underbrush. The tourists crouch, avoiding the branches which drag along the roofs. 66. PHILLIP'S ROVER He sits with Tasha. A guard is driving the Rover along with another guard riding shotgun. The jostling of the vehicle makes it difficult not to bump into the person sitting next to you. PHILLIP Oops! Sorry about that. Are we absolutely sure this is a road? TASHA The whole point of a safari is to travel off the beaten path. PHILLIP Yes, but not to be beaten about by the path. I'm a city boy. The occasional speed bump is the worst hazard I have to deal with in Washington. TASHA I've never been there. It would be nice. PHILLIP Washington is incredible. Nothing like it. You should let me show it to you. She reacts with a wistful smile. Phillip lowers his voice. PHILLIP (CONT'D) Tasha, you have to clear something up for me... TASHA He's good to me. When he found me, I was struggling to find a career and lose a coke habit. He helped me through that and I owe him. PHILLIP Do you love him? JACK (beat) Phillip, let me make it clear. There is no secret agenda. I know what I am to him. A trophy. A possession, no more important than any of the other paintings on his wall. PHILLIP Yeah, but... 67. TASHA (going on) Men like M'Buto use their power and position to seduce women. Women like myself... we allow ourselves to be seduced. It has nothing to do with love. Only need. PHILLIP Don't shortchange yourself. You're more than a "possession". TASHA A man with the power you obviously have in Washington... you could seduce me. But, knowing that, would you love me? Or just love the power you had over me? She turns and looks away before he can answer. CLEARING The Rovers emerge slowly from the thicket. Jack stops his Rover and indicates the others should pull alongside. He gets out and motions to the guards. JACK (in KiSwahili) (Watch both sides of the trail). The guards fan out around the vehicles. JACK (CONT'D) Everybody out. Bring your cameras and binoculars. They start piling out. Jack walks by M'Buto's vehicle. M'BUTO Mr. Andrews...? JACK Waterhole. M'Buto smiles and nods. He gets out and joins the group. Rashid follows, rifle slung over his shoulder. JACK (CONT'D) Okay. We're going to walk a few yards over that ridge. Everyone stay behind me and be quiet. (pointedly) If anyone has a fancy digital alarm watch, turn it off now. 68. Phillip just rolls his eyes. Jack turns and leads the group through the thicket. RIDGE A mound of earth above the rest of the plain. Jack sticks his head up and surveys the scene. JACK The wind is in our face. We should be all right. Okay, people. This is what it's all about. The rest of the group stands up and looks out in awe. A vast expanse of land, covered by every indigenous animal in the region. Zebras, waterbuck, tobi, gazelle, giraffes, hippos. The herd animals are countless. In the middle is a large lake, shimmering pink from the flamingos crowding its shores. A herd of elephants stand in the water, splashing each other and spraying each others backs. Phillip stares at the magnificent animals as the play. PHILLIP (to himself) My God...! Why would anyone want to kill... JACK (interrupting) You can take pictures, you know. Shaken out of it, the rest of the tourists begin taking pictures by the hundreds. Phillip reacts to Jack's look with a nod. DIANE How did you know this was here? JACK I took a guess from the runoff gullies and all the tracks. PHILLIP What's the deal about the alarm watch? Jack points off to the other side of the lake. A herd of Cape Buffalo are watching them. PHILLIP (CONT'D) Cows? You were worried we'd bother the cows?

JACK Cape Buffalo. (MORE) 69. JACK (CONT'D) A while back a friend of mine was doing some blasting with dynamite. A herd of Buffalo just watched him. Until he started whistling. Then, they stampeded. And when Cape Buffalo stampede, they don't run from you. They run at you. MAGGIE Mom! Look! Over there! They all shift their attention to Maggie, who is peering through her binoculars. DIANE What is it, honey? Maggie points. They all switch from camera to binoculars. Several female lions lie in the sunshine. Six or seven cubs play around them, chasing each other's tails, rolling over their mothers. MAGGIE And I found them, didn't I? DIANE Yes, you did, dear. MAGGIE That means I get to name the babies, don't I? JACK As far as I know, that's the rule. Diane smiles at Jack as Maggie happily starts naming them. MAGGIE See the one with the spot on his eye? His name is Captain Bluebeard. The one with the kink in his tail, that's... Twitchy. The little one on his back is... Norton. Oh! But, that one... the one with the white paw. He's going to be... A gunshot rings out. The nameless cub falls over, dead. Another shot. Another cub. And again. Animals scatter at the shots. The lionesses run around, confused as to what is happening to their cubs. Rashid calmly shoots again. M'Buto is beside him, shaking his head sadly. The tourists are horrified. Jack is livid. He grabs the binoculars from Maggie, turning her away from the carnage toward Diane. 70. He then takes two big strides to get to Rashid, pulls the rifle from his hand and spins the butt of the gun into Rashid's face, knocking him to the ground. Rashid rolls to his feet, a nasty hunting knife in his hand. M'BUTO Rashid! He freezes, obeying. Jack turns on M'Buto. JACK What the hell do you think you're doing? What the fucking hell do you think you are doing? MAGGIE (shocked) The babies... M'BUTO (calmly) Rogue lions. If you'll look. Jack looks out to see two young male lions approaching the lionesses. M'Buto turns back toward the group. M'BUTO (CONT'D) When rogue males take over a harem of females, they kill the cubs. The deaths are extremely painful. Rashid was aiding Mother Nature. JACK Mother Nature doesn't need your help. If that's the way it is, then that's the way it is. M'BUTO What just happened was merciful. The result was the same. JACK (pointed) Any time Man takes Nature into his own hands, he's just serving his own needs. M'BUTO Who would know that better than a White colonial? The ultimate insult to Jack. Phillip quickly intervenes.

PHILLIP Hey! Hey, it's over. Let's just... Just... cool down. Take a moment, okay? 71. A moment, then; JACK (to Rashid) Next time... I'll break your fucking back. He turns on his heel and walks off. The only sound besides the wind is that of a little girl crying. DISSOLVE TO: EXT. AFRICAN SUNSET The globe of the sun gives an orange halo to a couple of giraffes, their necks intertwined. CUT TO: EXT. CAMPSITE - NIGHT The campsite has been laid out and a fire is blazing near the main tent. A few guards walk the area. The tourists all seem to have retired. Except for Maggie. She sits alone, staring into the flames. She doesn't look up as Phillip comes out of the main tent and sits nearby. A long beat, then; MAGGIE If you're here to give me the buck up talk, you're too late. My mother beat you to it. Phillip says nothing, but continues looking at her, thinking. MAGGIE (CONT'D) "It's a part of nature"... "He was doing what was best for the cubs"... It sounded stupid when she said it, it'll sound stupider if you say it, so save your breath. She looks up at him. Finally; PHILLIP You took my Swiss Army knife, didn't you? She looks at him, almost incredulously. She pulls his knife out of her pocket and tosses it to him. He catches it and inspects it, pulling out each blade.

PHILLIP (CONT'D) I knew I didn't lose it. I don't lose anything. 72. MAGGIE Well, you have it back. So you can go now. PHILLIP Thanks for the permission. How old are you? Thirty five? Forty? Because you sure don't act like twelve. MAGGIE I'm thirteen. And how am I supposed to act? PHILLIP You've got me on that one. (beat) By the way, your mother makes a good argument. About the lion cubs. MAGGIE My mother is a good argument. PHILLIP She was just trying to make you feel better. MAGGIE Or, maybe, she was just trying to tell me how to feel. And act. And think. PHILLIP No wonder you don't like her. MAGGIE She's my mother! PHILLIP That's genetics. Don't get me wrong, I understand. When I was younger, I did a lot of stuff to get my father all riled. Like talking back to him, stealing silverware, staying out late, your usual rebellion thing. But, you know what I found out? (beat) I was doing it because I wanted him to notice me. And, maybe, show that he loved me. What I didn't realize is that he did. He just wasn't showing me the way I wanted to see it. (beat; then) But, my problem was all in my mind. Not like yours. I can see why you hate her. 73. MAGGIE I don't hate her. PHILLIP Okay, you don't like her. Whatever. To her, it's the same thing. With that, he pulls out his flashlight and signals a guard. As he walks away with the guard, we stay on Maggie. CUT TO: EXT. PHILLIP'S TENT - NIGHT Phillip leaves the guard a few yards away and approaches the tent. Phillip stops, disgusted. He has noticed someone moving inside the tent. PHILLIP (to himself) Jack, someone has to teach you about visiting hours... He walks into the tent. PHILLIP (CONT'D) Okay, no surprises. I know you're... Hey! A "thud" is heard followed by the sounds of a struggle. It continues for a beat, then stops. Silence. CUT TO: EXT. JACK'S TENT - NIGHT Jack walks up to his tent. He leans over to prop the rifle on a table. An arm reaches out of the blackness of the tent and twists a rope around Jack's throat. Jack reacts instinctively, his hand coming up between the rope and his neck. It is one of the guards. Jack flips the guard over his back and into another man who is rushing him from the front. Jack loosens the rope and gasps as the guards pull knives. They rush him again. Jack twists one man into the other. The first guard drops to his knees, holding his wounded arm. The other man comes at Jack, slashing across his belly. Jack backslaps the man's wrist, then follows with a heel to the back of the knee and a palm to the chin. The man drops in a weirdly contorted angle. Jack turns...

Phillip rushes into the middle of this. He is cut and bleeding. He doesn't see the other men as he faces Jack. PHILLIP They just tried to kill me! 74. Suddenly, the wounded guard is on his feet, behind Phillip. He grabs him and puts his knife to Philip's neck. PHILLIP (CONT'D) Oh, mother of... GUARD (KiSwahili; to Jack) (You move... he dies.) JACK (to Phillip) Nice move. The other guard gets up and wraps the rope around Jack's wrists. Jack continues staring at Phillip as we; CUT TO: EXT. CLEARING - DAY The hot, African sun beats down on Phillip and Jack as they stand next to each other. They both are bound at the wrists and being held under guard by three armed guards. PHILLIP (to Jack) I thought I was just along for the ride. The guards pull Phillip and Jack's packs and belongings out of the Land Rover and begin going through it, picking out souvenirs. Phillip freezes as he watches his mother's book go flying into the dirt. A Land Rover pulls up driven by Rashid. M'Buto and Tasha get out. Tasha looks upset and is trying not to look at Phillip. M'Buto walks over to Jack and examines him, looking into his eyes. He shakes his head. M'BUTO Not a trace of fear. How foolish. He nods and Rashid punches Jack in the face. Jack wobbles to the ground; any man would. PHILLIP Hey! M'Buto inspects Phillip. Tasha watches, afraid. M'BUTO Absolutely nothing but fear. Hmm. Well, you've both presented me with a dilemma. Fortunately, your deaths are explainable. 75. PHILLIP You can't kill me! I represent the United States of America. JACK He's right, M'Buto. You kill us and you can kiss your million dollar poaching operation good-bye. M'Buto walks over to Jack and leans in to him. M'BUTO Mr. Andrews, listen to me carefully... This isn't about poaching. It never was. He steps back and holds out his hand. Rashid puts an Army .45 into it. M'Buto chambers a round. M'BUTO (CONT'D) I used this gun in the revolution. I killed twenty three men with it. He turns and fires at Tasha. She recoils from the impact of the high caliber weapon, dead before she hits the ground. Phillip drops to his knees and throws up. M'Buto hands the gun back to Rashid. M'BUTO (CONT'D) In any plan, there are certain random elements that must be dealt with. Tasha's association with the Police Chief is an example. I suspected her of stealing one of my ivory... "tchach-kes". Mere theft is tolerable. But, conspiracy... no. (regretfully) And I really liked Tasha. He shakes his head. He motions to the guards. Two of them go to the Land Rover and open the back. They drag blankets out and unroll them, revealing the mutilated bodies of the helicopter guards. M'BUTO (CONT'D) The jungle will eat well tonight. JACK Why don't you cut the shit and kill us? I'd rather not listen to your babbling any more than I have to.

PHILLIP Hey, he doesn't speak for the both of us! Babble on, if you're into it. 76. JACK He's going to kill us anyway. I'd rather he did it now than bore us and leave us for the lions. PHILLIP I don't think it's up for a vote! JACK Have you ever been eaten by a lion? PHILLIP Have you??? JACK Take my word for it, you'll appreciate the bullet. M'Buto laughs and turns to leave. The guards chamber rounds. Then, M'Buto turns back, considering. M'BUTO Tie them to the ground. Let the lions have them. With a touch of the hat and a nod, he gets back into his Rover and Rashid drives him off. The guards grab Phillip and begin to tie him down, spread eagle. PHILLIP (to Jack) You son of a bitch... YOU SON OF A BITCH!! I didn't want to come on this safari, but you made me! I didn't want to come to Africa, but my government made me! I didn't want to get eaten by lions, and now... One of the guards grabs a handful of leaves and stuffs them into Phillip's mouth, shutting him up. Next, they put Jack on the ground and tie him up. After dragging the other bodies next to the pair, the guards get into their Rover and drive off. Phillip is still trying to yell, his muffled screams are unintelligible. Suddenly, a lion's roar is heard. A pride of lions are just on the perimeter of the clearing, curious, but suspicious at the free buffet. JACK Don't lie still, or they'll think you're dead. If they think you're dead, they'll eat you.

Phillip starts twisting and screaming at the top of his lungs, leaves permitting. The lions are unsure. Jack examines the ropes. Biting his lip, he tenses his whole body, with the exception of his right arm. 77. He pulls on the other ropes as if trying to break them. He is pulling so tight, that his left hand has turned blue from lack of blood, the rope biting into his wrist. His ankles are getting the same treatment. He is hoping to stretch the other three lines enough to give him some play in his right arm. The slipknot around his right wrist loosens... a bit more... a bit more... The lions are loosing their suspicious nature. One particularly big fellow moves in, sniffing the wind. Phillip's screams are becoming more urgent. Jack is still struggling with the rope... almost there. The lion noses Phillip's boot. He gives the boot a tentative chew. Phillip goes wild, twisting his foot back and forth. Almost playfully, the lion paws at it. Then; Jack is loose. He reaches down to his boot and grabs a hidden knife. In one motion, he cuts the ropes on his arm and legs. Then, rolling, he slashes at the lion. The lion roars and jumps back. Jack is yelling at him, slashing back and forth. His two legs are useless for the moment, so he is crawling forward... toward the lion. The lion is taken back by the behavior. He swats at Jack, hitting his arm. Jack ignores the pain and continues his attack. Finally, the lion backs off and returns to the rest of the pride. Jack moves over to Phillip and cuts his ropes. Phillip pulls the leaves out of his mouth. PHILLIP Are you fucking crazy? Trying to piss off a lion?? JACK Move it! He's not going to be spooked a second time. Jack grabs him and forces him to his feet. Phillip takes a look at Tasha, then stands. Jack starts to pull him into the brush, but, suddenly, Phillip breaks free. He runs to grab his book. Phillip snatches it up as the lion roars at him. He takes off after Jack. CUT TO: EXT. JUNGLE - DAY - VARIOUS SHOTS The music pounds as Jack and Phillip run/stumble through the brush. Finally; JACK Okay... okay, let's take a rest. We're all right for the moment.

PHILLIP Won't they come after us? The lions, I mean. 78. JACK Too much effort. If you had your choice between a lunch that ran and one that stayed on your plate, which would you choose? Jack drops to the ground and rests. Phillip drops. We play their exhaustion for a few beats. Phillip has his head lowered and is biting his lip, his face contorted with pain. JACK (CONT'D) You gonna' be okay? PHILLIP (strained) I have seen more in the last week than I ever wanted to see. JACK More than most. Jack stands and gives Phillip a pat on the back. JACK (CONT'D) Come on. We've got to get ahead of the safari. PHILLIP And do what? JACK I don't know yet. One thing is for sure; those people are in danger. We can't waste time hiking back to the city for help. Phillip shakes his head, ruefully. PHILLIP My Dad will never believe this... Hell, my shrink will never believe this. JACK You have a shrink? PHILLIP I intend to. He follows Jack into the underbrush. CUT TO:

EXT. SAFARI - DAY The camp is packing up to move out. There is something different, though. The porters are all armed. 79. The relaxed atmosphere of the safari has been lost. And the members of the safari are gathered together in a circle... under guard and frightened. M'Buto drives up with Rashid. He steps out, his eyes slits with anger. M'BUTO Damn... Damn it! M'Buto walks over to the group. M'BUTO (CONT'D) Why is this happening? What are my men doing with their weapons out? The tourists look at each other, confused. Julio steps out in front of the them. JULIO I ordered it as insurance, M'Buto. Everything is under control. Julio pulls out a cigarette and casually lights it. JULIO (CONT'D) I am under orders from the Red Faction high command to take precautions. Hostages are a guarantee... M'BUTO You are here under my command! Your terrorist group follows my orders or they get nothing, do you understand? A long pause as there is a face off. Finally, Julio shrugs. JULIO The point is moot at best. (beat) I apologize for my paranoia. I am at your disposal. M'Buto regards him, then; M'BUTO Put them on the bus. We will take them with us. In case your paranoia is justified. Julio nods. The guards herd the tourists toward a bus. CUT TO:

EXT. RIVERBANK - DAY Jack and Phillip are standing on the shore of this fairly swift moving stream. 80. PHILLIP You have got to be kidding me. JACK Have I yet? You come up with a better idea. PHILLIP Wait for a cab? Jack pulls a large log out of the underbrush. JACK Start looking for some more logs, about this size. I'll start making some rope. PHILLIP We're going to build a boat? JACK A raft. It won't be the Queen Mary, but it will keep your underwear dry. PHILLIP I lost that prospect back with the lions. Jack pulls a vine down from a tree and begins shredding it to make rope. Phillip grabs a large log and drags it over to the other one, trying his best not to get any more dirty than he is. No other logs are in sight, so Phillip moves through the bush. NEAR SHORELINE Phillip is looking for logs, muttering to himself. PHILLIP Twelve years of private school, two years of prep and four years of Yale... and I'm building a fucking raft. (catching himself) "Fucking" raft. Jesus, I'm beginning to talk like him. How long have I been doing that? (beat) Fuck it. He grabs a large "log" and pulls it.

The head of an extremely large crocodile swings back at him, roaring in annoyance at having his tail yanked. Phillip screams and scrambles back the way he came. 81. RIVERBANK Jack is twisting the vine into rope as Phillip flies by him and heads up the tree out of frame. Jack hardly looks at him and he continues his work. JACK Watch out for crocs. PHILLIP Fuck you! Jack chuckles to himself and goes back to work. DISSOLVE TO: EXT. THE RIVER - DAY - HIGH ANGLE As two men on a raft float down the silver ribbon of the river. A scene straight out of Mark Twain's imagination. CLOSER - ON RAFT Jack seems to be sleeping, the top of his head covered by his jacket. Phillip rests on his elbows, watching the riverbank move past them. It is peaceful; serene. The occasional bird flies overhead. A hippo and her calf watch from the distant shore. PHILLIP (softly singing) "Ol' man ribber... Dat ol' man ribber... he don't say nothing, but he must know somethin'... that ol' man ribber... he just keeps rollin' along." He checks Jack to make sure he is asleep. Then, he pulls the book out of his pocket and opens it. Beat. JACK What's the deal with that book? PHILLIP Nothing. It's just a book. JACK Bullshit. You ran toward a lion to get it. PHILLIP It's a mystery novel. I hadn't finished the last chapter, okay? JACK Let me see it. 82. PHILLIP No go. JACK How well can you swim? Phillip reluctantly hands the book to Jack. Jack thumbs through it. He finds a page of interest and... JACK (CONT'D) (reading) "A word to some, a world to me. Africa is home to a far away orphan, longing for the embrace of a mother she never knew." Phillip looks off across the water and sees; HIPPOS Half in, half out of the water, looking for the soft river grass. They watch the raft as it floats by. JACK "The place of my birth that I was not born to..." CAPE BUFFALO AND WILDEBEEST Drinking from the shore, keeping a careful eye on the; JACK "...I have yet to hear the soft winds of the Serenghetti whisper my name." CROCODILES They float in the water, biding their time. Waiting. Finally, we see; JACK "Lost in thought, am I, that the voice might be silenced forever..." ELEPHANTS A maternal herd of fifteen or so. They are drinking, splashing and covering each other with protective mud. A few calves chase each other around the shore. Some of the younger males fight each other in mock battles. Another two are caressing each other's trunks. The Matriarch, however, is not so lax. She keeps careful eye on the raft, protective of her herd. She has seen men before. She knows what they bring. 83. JACK "...And the whispering winds might grow still and die before the Orphan comes home. If Africa is just a word, let it be the name of an old friend I have yet to meet." BACK TO SCENE - THE RAFT Jack regards Phillip as he stares at the shoreline. Then closes the book and hands it back to Phillip. JACK You didn't write this. PHILLIP It's my mother's diary... sort of. She always wanted to see Africa. My dad couldn't afford it for a long time. Then, we he could, he never had the time. So, she did the best she could. In here. He taps the book. JACK She never made it out here? PHILLIP She died ten years ago. JACK I'd like to read the rest of it sometime. PHILLIP (beat) Me, too. They hear the sound of a rifleshot. Both of them freeze. The sound is heard again. JACK It's from up ahead. CUT TO: EXT. SHORE - DAY A white man sits under a tree on a small hill above the river. He is a LOOKOUT, dressed only in undershorts holding a chamber action scoped rifle. Five other white men are also present, all of them dressed in undershorts and washing clothes in the water. They have automatic rifles stacked nearby. They are careful not to go too far into the water, aware of the threat by crocodiles. 84. The Lookout man with the rifle shifts his aim to fire another shot at a crocodile who has made his appearance at the opposite shoreline. The sand explodes in front of the reptile, sending it back from the water. Phillip and Jack watch from the underbrush. PHILLIP Who are these guys? JACK I don't know. But I can tell I don't like them already. He scans the area and spots a few items of clothing hanging on a tree limb. JACK (CONT'D) Holy shit... PHILLIP What? JACK Rhodesian mercenaries. Look. That's the uniform. PHILLIP Forget the uniforms. Check it out. He points over to another tree, where we can see the figure of an old man strung up. His name MALAKA and he is obviously in pain. SOLDIER #1 walks over to Malaka eating a piece of fruit. He holds the fruit out toward Malaka's chapped lips. Then, tosses the food onto the ground. JACK I really don't like them, now. The rifleshot again. A croc was trying to get closer to the men. The Lookout took care of it. Jack thinks, then; JACK (CONT'D) Take off your clothes. PHILLIP Excuse me? Meanwhile, the men are putting their uniforms back on. Suddenly, Phillip comes walking out of the bush. He is completely naked with the exception of a grass loincloth. His hair has been mussed. He looks primitive and nervous.

PHILLIP (CONT'D) Jambo! 85. SOLDIER #1 Hey! How'd you get out? PHILLIP Mugly wanta boop ah locka dot. SOLDIER #1 What? SOLDIER #2 He's not one of ours. SOLDIER #3 Who are you? Nani wewe? PHILLIP Yabba Dabba Doo Doo. Wacka wacka. Phillip's trying to look native and, at the same time, looking for some reassuring sign that Jack hasn't left him. SOLDIER #1 It doesn't matter who he is, he's ours now. You two take him up to the trucks and lock him in. We'll be up in a minute. SOLDIER #3 Come on, toto. PHILLIP (loudly) Helpum! Jack-a-doodity. Helpum! SOLDIER #3 Yeah, helpum all you want. Soldier #3 and #4 grab Phillip and march him off. EXT. NEAR RHODESIAN TRUCKS Two large military trucks with canvas covered trailers. The Soldiers walk Phillip over to one of the trucks. One of them pulls back the flap on the back of the truck. Behind bars are twenty or so men, tired and beaten, physically and mentally. Soldier #3 unlocks the back and forces Phillip into the truck. He locks the door. Phillip looks at the people in the truck with him. They regard him with mild, but subdued interest. PHILLIP Anybody here speak English? (nothing) Didn't think so. Jambo. One youngster, TOKAY, looks up at Phillip. 86. TOKAY Jambo. Habari? PHILLIP That's it, fella. My entire vocabulary. Come on, Jack. How much time do you need? Tokay touches him on the arm, reassuringly. Phillip tries to smile. PHILLIP (CONT'D) You've probably guessed by now that I'm a Black American. Off that, we go back to; THE SHORE The three remaining soldiers are gathering up their clothes and weapons. Soldier #1 waves up at the Lookout. SOLDIER #1 We're almost done. Keep them away for a few more minutes. The Lookout waves back. The Soldiers return to their matters. From our angle, we can now see that the Lookout's head is tilted slightly and he seems to be leaning against something. A stick is propping him up from behind. Jack is crouched in the dirt next to him. He holds another stick which operated the Lookout's hand when he waved. Jack looks to the soldiers, then over to the river. Without the Lookout on duty, the crocodiles have made their way back into the water. Several of them submerge. Soldier #2 walks back to the water to retrieve a wash bowl. Jack tenses, chambers a round into the single action rifle. He will have to act fast... Soldier #2 reaches down for the bowl. A huge reptilian head pops out of the water and grabs him. He screams as the primeval beast pulls him into the water. The other two Soldiers turn to help, firing their automatics at the crocodile... both crocodiles, as another has appeared to tear the poor man in two. THE RHODESIAN TRUCKS The shots are heard and the two Soldiers react, running toward the path. As Soldier #3 passes by the back of the truck, Phillip reaches through the bars, grabs him by the throat, and pulls him back against the bars. Unaware, Soldier #4 continues running. 87. Soldier #3 reaches up, tangles his fingers into Phillip's hair and pulls Phillip's forehead into the bars. The other residents of the truck join in, beating on the man until he finally goes limp. Phillip reaches into his pocket to grab the key as we go to; THE SHORE One crocodile is dead, but so is the Soldier. Furious, Soldier #2 turns toward the Lookout. Jack pops up from behind his spot and fires off a round. Soldier #2 drops. The other two men open fire. With practiced ease, Jack quickly jams another round into the chamber and fires off another shot. Soldier #5 falls. Soldier #1 is ducking and weaving, firing at Jack. Jack is trying to get another round into the chamber, but it is jammed. Soldier #1 madly rushes the hill. His shooting has already ripped into the Lookout. As he comes up over the hill, Jack uses his rifle to deflect the Soldiers barrel. Jack then throws himself into the man's midsection. They go rolling back down the hill, toward the water... and the crocs. Jack's fighting is hampered by the fact that they are literally tripping over crocodiles as they maneuver around each other. Finally, Soldier #1 throws sand into Jack's face, grabs a log, and hits Jack solidly. Jack falls to the ground, shaken. As the Soldier brings the log up for the final blow, he stiffens. A shocked look comes over his face as he falls to the ground, a spear sticking out of his back. Behind him are Phillip and his new friends. Tokay is lifting another spear, just in case it is needed. It isn't. Soldier #1 is dead and already the attention of the crocs. Philip sprints forward and grabs Jack by the arm and drags him away from the crocodiles. JACK Thanks... PHILLIP Next time, you get to be the fucking decoy! Several of the men run to Malaka and untie him. JACK Who are your friends?

PHILLIP If I spoke the lingo, I could tell you. I'm glad to have them on our side, though. 88. Malaka comes over and drops to his knees. He reaches out and grabs Jack's hands, then Phillip's. MALAKA (KiSwahili) (Thank you! Thank you both!) JACK (KiSwahili) (Who are you? Why did these men hold you?) MALAKA (KiSwahili) (My name is Malaka. I am Tribal Elder of my village. These men came and took us all. We don't know why). PHILLIP Hello...? Is there a translator in the room? JACK This is Malaka, he's an Elder. He said these Soldiers kidnapped him and his men. Probably for labor. PHILLIP What kind of labor? Jack shrugs and turns back to Malaka. JACK (KiSwahili) (Go home. You are free.) The old man smiles and grips Jack's shoulders. He turns and does the same to Phillip. MALAKA (KiSwahili) (My life is yours, if you need it). Phillip looks at Jack, puzzled. Jack smiles. JACK You've made a friend for life. Malaka releases Phillip and he and his men take off into the brush. Phillip watches them go, then he smiles to himself. PHILLIP Neat... CUT TO: 89. EXT. THE BRUSH - DAY As one of the Rhodesian trucks drives away from camera. INT. TRUCK - DAY Jack is driving. Phillip is looking through the glovebox. He pulls out a plain wrapped candy bar and begins to unwrap it. PHILLIP Are we even on a road? Jack nods. PHILLIP (CONT'D) Isn't that dangerous? What if other Rhodesians see us? Won't they be curious? JACK They'd be more curious if we weren't on the road. PHILLIP Good point. Hey, look at this... He shows Jack the candy bar in the wrapper. Jack looks at it blankly. PHILLIP (CONT'D) It's a Mondo-Nutter Bar. See? (singing) "Peanut butter makes it nutter, chocolate makes you crave a-nutter". Like in the commercial? (off Jack's look) You're looking at me the way my Dad looks at bean sprouts on his food. This candy bar is made in the United States! JACK Hooray for the red, white, and blue. PHILLIP There's supposed to be a boycott of goods to Rhodesia. JACK Are you really so naive?

PHILLIP You miss my point. This is just a candy bar. (MORE) 90. PHILLIP (CONT'D) If a company is willing to risk sanctions to break the boycott for candy bars, what does that tell us? JACK That it's all bullshit. The Rhodesians are bastards. Racist, apartheid bastards. You know how they get around the sanctions? Because they're your bastards. One thing Rhodesians hate more than anything else are communists. And the U.S. loves that. Phillip takes a bite out of the candy bar, thinking. Then; PHILLIP Okay, I'll give you that. Still... what are Rhodesians doing in the middle of this country? In force, no less. JACK I don't know. But, I hate the bastards. I always have. Phillip nods his head. Obviously Jack is sincere in his conviction. PHILLIP How're we doing on gas? CUT TO: EXT. SUN - DAY High in the sky. Hot. Burning. JACK AND PHILLIP Jack wears a Rhodesian cap to protect his head from the sun. He carries an AK-47 and a canteen. Phillip stumbles along behind him, dragging an AK-47. In the distant background, we can make out the abandoned truck. VARIOUS SHOTS A pair of adult Ostriches, surrounded by chicks, watch as two men trudge by in the distance. Thompsons Gazelles take a mild interest in the two men.

A Cheetah and her cubs pay little attention as Jack and Phillip travel on across the veldt. Finally; CUT TO: 91. EXT. LARGE SHACK - DAY Painted to blend in with the surroundings, but otherwise unremarkable. Jack and Phillip approach it cautiously. JACK It looks empty... PHILLIP I hope not. I'm starving. Maybe there's some food inside. And a stove. And some wine. Apertif... They walk around to the side that has a large door. Jack pulls on it and it swings open easily. They react. PHILLIP (CONT'D) Holy shit... Stacks of tusks fill it halfway. All shapes and sizes. JACK About thirty animals... Worth maybe six or seven hundred thousand dollars on the Asian market. He starts as they hear the sound of a truck approaching. They move quickly, shutting the doors with them inside. They wait as the sound of the truck comes closer, then stops. A beat, then the door is opened again and KiSwahili is heard. These men are definitely black Poachers. They set their weapons down inside the shack and begin to unload more tusks from the back of the truck. Jack gestures to Phillip, using hand signals to tell him they are going to take the truck. Phillip wants to know how. Jack holds up the AK-47. Phillip looks shocked. Jack steps out into view, firing a few shots into the roof. JACK (CONT'D) (KiSwahili) (Don't move...) The Poachers freeze. JACK (CONT'D) Come on, Phillip... Phillip steps out, holding the AK-47 limply toward the Poachers. They back out of the shack. JACK (CONT'D) Start the truck up. PHILLIP What about them? 92. JACK I'll take care of them. Move. Phillip sprints for the truck. Jack closes the door and jams it shut with a stick through the locking joint. INTERCUT - INT. TRUCK - DAY Jack jumps into the truck with Phillip as a blast of gunfire comes through the shack door. PHILLIP Hold onto your... Oops! The truck jerks backwards, hitting the door slightly. Enough to dislodge the stick. It falls out as Phillip puts it into forward and pulls away. The door is pushed open and the Poachers burst out, armed and firing. The truck is not built for speed. Phillip is trying to keep low as the bullets rip up the cab. PHILLIP (CONT'D) Jesus! Shit! JACK Move your feet! Jack leans over and grabs the wheel. He sticks his feet onto the pedals. The truck comes to a stop. PHILLIP What are you doing, man? The firing continues as Jack puts the truck into reverse. Phillip is horrified as they pick up speed backwards... toward the Poachers. The Poachers are giving it everything they have as the truck races backwards. Then, Jack hits the brake. The truck comes to an immediate halt. The tusk in the back fly out toward the Poachers... Disgusting sounds are heard among the screams as the pointed projectiles find their marks. Phillip closes his eyes, not wanting to look. Jack leans out of the window and looks back. Satisfied, he turns back to Phillip. JACK Drive. Phillip hits the gas. The truck moves off.

PHILLIP (angry) Next time, just tell me. I'll do it. 93. JACK Would you have done it? PHILLIP Yeah. Sure. No problem. It's not like being shot at bothers me... It's getting pretty routine, if you ask... Suddenly, the ground near the truck explodes as a shell lands hear them. Phillip swerves. PHILLIP (CONT'D) Now, that bothers me! EXT. BUSH - DAY - ON RHODESIAN APC A lightly armored vehicles with half-track treads and a 30 mm cannon on a rotating turret. The cannon lets off another blast at the truck. This shot hits home, blasting the front undercarriage away and sending the truck toppling on its side. The APC lurches forward. NEAR TRUCK Jack drags Phillip out of the cab of the truck as the APC approaches. The top turret pops open and a Rhodesian SARGEANT sticks his head up. JACK (to Phillip) Are you okay? Phillip gives him a "what do you think?" Glare. SARGEANT Do not move. Hands up... over your head. Jack and Phillip raise their hands over their head. SARGEANT (CONT'D) Who are you? Phillip gives a look to Jack who shakes his head slightly. They don't answer the Sargeant. He barks a command down into the APC and the cannon readjusts its aim toward them. Meanwhile, Phillip's attention is drawn to something else. A herd of Cape Buffalo watch from a distance. On guard, but not alarmed. Alarmed... Phillip clears his throat. Jack looks at him. Phillip glances in the direction of his upraised hands. Jack looks up to see Phillip adjusting his watch. Suddenly, Phillip's alarm goes off. The Sargeant looks puzzled. The Buffalo have swiveled their ears forward and they charge! 94. The Sargeant sees them and drops inside the APC, shutting the turret. Phillip and Jack sprint for the nearest tree, hitting the low branches in one leap. The Buffalo are on them now. Jack and Phillip are relatively safe, high in the tree. The APC is trying to make a run for it, but it barely gets started before a wall of Buffalo flesh hits it broadside and turns it on its side. The repeated impacts are too great. The APC begins to crumple. As quickly as it began, it is over. The Buffalo move back to their grazing area. Phillip and Jack drop down from the tree. They look at the remains of the APC. Jack grins at Phillip. JACK Don't forget your malaria pill. And he laughs appreciatively. Phillip gives a little chuckle with him, but we can tell he is still a bit unnerved. Jack goes over to the truck and pulls their AK-47's out. PHILLIP So? Now what? JACK North. PHILLIP (resigned) North. They start to walk off as we; DISSOLVE TO: EXT. THE MOON - NIGHT The moon hangs in a darkening blue sky. EXT. NEAR TREE - NIGHT Jack is on his hands and knees, searching the ground for something. Phillip sits on the root of a huge tree. He looks exhausted. JACK Don't fall asleep there. By morning you'll be covered with ants looking for water in the tree.

Phillip stands up, brushing off his seat. PHILLIP I could use some water myself. 95. Jack has apparently found what he was looking for. He starts digging with his knife. Phillip walks over to sit on a rock. JACK Not there, either. Scorpions. Phillip stands again, looking disgusted. Jack pulls a large root from the ground. He starts to shave it with the knife. PHILLIP Hey! I know what you're doing! I saw it in a movie somewhere. You're looking for water in roots. JACK You got it. Jack takes the shavings, squeezes them in his fist, and lets the water run down his thumb into his mouth. Phillip grabs up a handful of shavings and does the same. He reacts to the taste. JACK (CONT'D) I didn't say it was vintage wine. It'll keep you alive. Phillip drinks some more, testing it. He shrugs. PHILLIP It's an acquired taste, I admit. Musky. Not too tart. Reminiscent of a California Chardonay... (then) Nope. It tastes like spit. Jack walks over to the tree and looks up into it. PHILLIP (CONT'D) Don't tell me... we're sleeping in the tree. JACK Nope. I wouldn't. PHILLIP Termites? JACK Snakes. With that, his hand darts out, grabbing a large snake by the neck. Phillip reacts.

JACK (CONT'D) It's harmless. Can give you quite a bite, though. Here... take it by the neck. 96. Phillip tentatively takes the snake by the neck as Jack stretches it out. Phillip inspects the snake's head, getting comfortable with its presence. PHILLIP So, what are we going to do? Play jump-rope? JACK Dinner. With that, he snaps the snake's neck then expertly draws his knife along its length, opening it up. Off Phillip's reaction, we; TIME CUT: EXT. NEAR TREE - NIGHT - LATER It is much darker now, though the moon casts some light. Phillip and Jack are finishing off the remains of the snake. PHILLIP Not bad... for snake tartar. And I used to be so scared of snakes. (beat) You know, if we made a fire in a deep pit... JACK You can see a light out here for miles. No fire. PHILLIP I admit I don't know too much about all this, but isn't it stupid to be sleeping in the open without a fire? What if we get eaten by some nocturnal creature? JACK I sleep real light. Nothing's gonna' get within ten feet of us. PHILLIP I can tell you've done this before. (no answer) Mind a question? JACK Go to sleep.

PHILLIP Just one question, then I'm off to sand land. I promise, "Dad". 97. JACK Get it over with. PHILLIP Since I've been here, I've been watching you. It's pretty darn obvious that you've got one hell of a resume' you keep hidden away. I told you I had to take classes in antiterrorism and covert activities. Am I right? Jack shrugs. PHILLIP (CONT'D) You fit the profile, anyway. So, considering your background and training... admittedly, I'm fishing a bit on that... why haven't you just blown M'Buto away by now? A long silence. Finally; JACK My past is just that; past. Men like M'Buto are nothing without power. If I removed him from the picture, someone else would step in and take over. But... if I can go to the source of his power and destroy that... he'll mean nothing. PHILLIP And none of this is revenge? For what he did to your friends? Jack considers the question. He grabs a handful of dirt and rolls it in his hand. JACK At first. I guess I was volunteered by circumstance. But something has to be done. PHILLIP Sounds familiar. JACK We'd better get some sleep. PHILLIP But we haven't had our espresso yet.

He grins. Jack ignores him and turns to make himself more comfortable. After a beat, Phillip follows suit. CUT TO: 98. EXT. NEAR TREE - DAYLIGHT - ON PHILLIP He is sleeping peacefully, unaware of the large preying mantis perched on his cheek. A hand enters frame, brushes the mantis away and covers Phillip's mouth. His eyes open wide. WIDER The hand, of course, belongs to Jack. He motions for silence. JACK (whispering) Someone's coming. Get behind the tree. Phillip does what he is told. Jack hides behind the roots. The sound of footsteps comes closer. The sound is erratic as if someone was unsure of their footing. Puzzled, Jack looks out from his hiding place. Then, he steps out into view. A black, SCARRED MAN stands there. He is in his mid-twenties and looks as if he has gone through a grinder. His entire body is covered with open sores and lesions. He falls to the ground. Jack goes to him and rolls him over. Phillip comes out. PHILLIP Holy shit... What happened to this guy? SCARRED MAN (KiSwahili) (Please... Take away the pain... please.... kill me...) PHILLIP What's he saying? JACK He wants to die. Jack pulls his hunting knife. Phillip's eyes widen in disbelief. Phillip grabs Jack's wrist. PHILLIP You can't be serious! Jack grabs him by the shirt. Then, suddenly, he frees his hand and slashes at Phillip, cutting his Phillip's shirt. JACK Rip your shirt up for bandages. I've got to kill the pain. Phillip shakes out of it and takes his shirt off. Jack grabs a vine from the tree and cuts it. 99. He starts to drip the sap from the vine onto the man's wounds. PHILLIP Not very sanitary, is it? JACK Does it matter? PHILLIP I have a feeling no animal made those marks. JACK Nope. But we're going to find out what did. Right? PHILLIP You bet your ass. CUT TO: EXT. DUMPSITE - DAY - CLOSE ON EXHAUST The sound of a large engine revving is heard as the vertical exhaust belches black smoke. ANOTHER ANGLE This is one of two bulldozers in the area. The other is parked on a nearby rise of dirt. This one is busy pushing dirt into one section of a dumpsite. Rhodesian soldiers guard the area, keeping an eye on the hundred or so black men who are working the pit. A truck nearby is being unloaded. The laborers are taking large metal drums out of the back of the truck and transporting them into the pit. The drums are marked with the familiar black and yellow markings of radioactive waste. PHILLIP It wasn't about poaching. It never was. INCLUDE JACK AND PHILLIP They hide in the bushes. The Scarred Man is resting against a tree. PHILLIP This is a toxic waste dump. A radioactive waste dump.

SCARRED MAN ((weak; KiSwahili) (My brothers are dying there.) 100. They watch as a man stumbles into the pit, tipping over one of the drums. A Rhodesian runs over and beats the man with his rifle butt. He leaves him. The man may be dead, we can't tell. No one moves to help him. PHILLIP God damn it... Okay, Jack Andrews, what are we going to do? And make it good because we are not moving an inch while this is going on. JACK There's only the two of us... PHILLIP You get the math award. I mean it, we're doing something about... JACK I'm not arguing. Hold on... He scans the area. The man in the bulldozer is parking his machine next to the other. He pulls out some food and starts eating. JACK (CONT'D) Have you ever operated a bulldozer? PHILLIP No. But what the hell. JOSHUA It's easy. Just like driving a tank. Come on. PHILLIP A tank? They move off. VARIOUS SHOTS A few of the guards are prompting the laborers to hurry up. They jab their rifles into the prisoners shins and backs. Jack springs up behind the man on the bulldozer, knocking him and his lunch to the ground. He revs up the motor. The Soldiers all look over toward the bulldozer as Jack moves it slowly toward them. Meanwhile, Phillip is in the second bulldozer, but having a little trouble starting it up. PHILLIP How do you... shit! I never drove a tank, you son of a... 101. He pulls levers and turns switches. Nothing is happening. Except that he manages to make the whistle blow. The guards snap out of it. They start firing at Jack. He raises the blade on the bulldozer. Sparks fly as the 7.62's ricochet off the heavy metal. JACK Come on, Phillip... He grabs a radio off the dash and yells into it. JACK (CONT'D) I need some help out here! The voice carries through to Phillip, startling him. PHILLIP (yelling back) Where's the fucking key? But Jack is too busy to answer. He is desperately trying to keep the soldiers in front of him and away from his vulnerable flank. This requires a lot of turning and dodging on his part. He can't keep it up forever. Meanwhile, Phillip has found something that looks familiar. A parking brake. He pulls it. Nothing... at first. Slowly, the bulldozer begins to move. It starts down the small hill it is on, picking up speed. Phillip hangs on, trying to keep his head down. He has no control over this thing. It is heading right for Jack and the Soldiers. Phillip blows the whistle. Jack looks up and sees Phillip on his way. Making a few quick calculations in his head, he spins the bulldozer around, opening his flank to attack. The soldiers swarm in that direction... right into the path of Phillip. They start firing and backing up, trying to get away. But Jack has outmaneuvered them. They have only one direction open; toward the pit. Phillip's bulldozer keeps advancing. Faster and faster. His radio comes to life. JACK You don't want to go into that pit with them, do you? Phillip realizes and starts to pull on the emergency brake. It isn't easy. He puts his back into it. Struggling.

The bulldozer heads right for the edge of the pit. The Soldiers are backed up to the edge... and swept over into the pit as the bulldozer inches over the lip of the ditch... and stops. 102. Phillip takes a deep breath, grabs his AK-47 and runs around to Jack, who peers over the edge. On top of the drums are the soldiers. Some of the drums have broken. The men are splashed with a bluish material. The prisoners slowly gather around the pit. Many of them pick up the Soldier's discarded weapons and stand there in mute anger over their former masters. One of the prisoners, NODA, walks over to Jack and Phillip. NODA (KiSwahili) (I have no words worthy of our gratitude). JACK (KiSwahili) (None are needed). Noda nods and touches Jack's shoulder. Suddenly, some of the prisoners shout out. PHILLIP Company... They all look over to see a group of black men emerging from the woods. It is Malaka and his group. Obviously the prisoners were stolen from the same villages as Malaka and his men. The reunion is joyful. Finally, Malaka walks over to Jack and Phillip. MALAKA (KiSwahili) (My friends... there is something you must see). PHILLIP What? JACK He wants to show us something. Off that, we; CUT TO: EXT. ENCLAVE - DAY - FROM HILLTOP In the middle of Africa, a little reminder of "civilization". A huge military compound. Razor wire fencing surrounds the area enclosing several large concrete buildings. A few military barracks style quonset huts are at one end. Rhodesian Soldiers man the perimeter, walking patrol or sitting in APC's. A tall watchtower with an antennae has two guards manning an automatic machine gun. 103. One building has a small cooling tower. An elaborate irrigation system brings water from the river into the building and back out into the river. Pull back to reveal Phillip, Jack, Malaka, Tokay, Noda and the rest of the men peering through the underbrush at the Enclave. JACK This is where they picked up those canisters. They took them to a dump site for burial. Noda says that some of his men would die. PHILLIP Radioactive poisoning. (dry) You have to admire the Rhodesians. They have a ban on importing nuclear technology into their country, so they build a processing reactor up here. JACK I can't see why M'Buto would work with the Rhodesians. He's not that stupid. PHILLIP Maybe he didn't have a choice. Like you said, if M'Buto was gone, someone else could replace him. Phillip puts the binoculars up to his face. PHILLIP (CONT'D) That's a cooling pool. Water goes in, cools the reactor, and flows out again. Looks like it's a simple reactor, probably running on a basic univac computer design. (off Jakc's look) Degree in Nuclear Engineering. JACK You're a surprising man. PHILLIP I've been surprising myself a lot lately. That thing sitting there... it's obscene. Especially here.

Jack gives Phillip a look. Quite a change from the self- absorbed diplomat that he met a week ago. 104. TOKAY (KiSwahili) (Look there.) The activity in the Enclave perimeter has increased. Men are running this way and that, on guard. From out of the trees appears a Land Rover. It travels up to the gate and waits as the gate is opened. The reception is none too friendly, however, as the vehicle is immediately surrounded by Soldiers. Someone steps out of the Rover. It is M'Buto. JACK Son of a bitch... EXT. ENCLAVE PERIMETER - DAY M'buto seems to be unconcerned by the ring of Soldiers around him. A door opens on the main building and COLONEL SMITTEN comes out. He is a White Rhodesian in uniform. M'BUTO My good friend, Colonel Smitten. COLONEL SMITTEN Why are you here, M'Buto? M'BUTO I merely wanted to check in on your operation that my Poachers are protecting. COLONEL SMITTEN We were to have no contact with each other. M'BUTO So, I take it that the first few batches of plutonium have been successfully processed? COLONEL SMITTEN Yes, as a matter of fact. Twelve pounds or so. But you won't get your next payment until we can transport it back to my governmnet. M'Buto smiles and waves it off. M'BUTO Dont' worry about that. I have made arrangements. Twelve pounds... That should be enough for, at least, a few suitcase bombs. COLONEL SMITTEN What are you talking about? 105. M'BUTO Thank you for processing the plutonium. Your work is done and I'm afraid I won't be needing you anymore. M'Buto doffs his hat as a signal. A shot rings out and a ragged hole appears in the Colonel's forehead. M'Buto drops as hundreds of men in brush camouflage open fire from the surrounding bush. These are Poachers being led by white men. INTERCUT - THE HILLTOP A thumping sound is heard. Jack ducks down as mortar fire begins to rain down into the Enclave. Explosions everywhere. The Rhodesians are caught completely by surprise. PHILLIP What the fuck...? M'Buto's Poachers rush the gate using sophisticated breaching devices to blow it open. Once inside the Enclave, they fan out, running into the buildings and throwing grenades. M'Buto's helicopter buzzes low over the hilltop. A heavy machine gun fires out of the door at the fleeing Soldiers. It's a slaughter. Finally, it is over. The Poachers move around, finishing off the wounded Soldiers. After a few moments, the safari trucks come up the road and into the Enclave. The tourists watch from the windows, eyes wide with fear. PHILLIP (CONT'D) What the hell is going on? JACK Shit... I get it. The Rhodesians made a deal with M'Buto to bypass the U.N. and process nukes on his land. PHILLIP So why did he just kill them? JACK Because he got a better offer for the plutonium. Terrorists. Probably backed by the Soviets. Vandermeison and the Red Faction. PHILLIP Shit... CLOSER - THE ENCLAVE M'Buto turns to Rashid. 106. M'BUTO Have the men set a guard for the fence in case we missed any of their units. Rashid nods and moves off. M'Buto assesses the situation. M'BUTO (CONT'D) Yes... I am pleased. I am very pleased. He heads over to the Rovers with a couple of guards. M'BUTO (CONT'D) Ladies... gentlemen, please step out. Please. Slowly, cautiously, they get out of the Rovers. M'BUTO (CONT'D) I regret the inconvenience this may have caused you and hope it will not spoil the memory of our beautiful country. DIANE What are you going to do with us? M'Buto just turns to his guards. M'BUTO (KiSwahili) (Take them to a room and guard them). The guards motion them on with their weapons. HILLTOP Jack has the binoculars. JACK He isn't killing them outright. We still have a little time. PHILLIP Time? Time for what? MALAKA (KiSwahili) (We are with you. If you need our help, we are yours.)

JACK Malaka says he and his men want to help us. 107. PHILLIP Good intentions are one thing, but knives and spears are not going to stand up against that kind of firepower. JACK If we have any chance at all, we have to get them outside. Here, in the jungle. A long beat as they think. Suddenly, Phillip sits up as if a light of revelation has struck him on the forehead. PHILLIP Whoa... wait a minute... no.... yes! I have an idea! I have a fucking idea! (beat) Trouble is, we'll probably all get killed. (then; grinning) Fuck it. It's a great idea! Off his pleased look, we; DISSOLVE TO: EXT. ENCLAVE - NIGHT Bright lamps illuminate the area. There are large trucks in the compound. Apparently the disassembly of the equipment goes on as the poachers load the trucks. The perimeter is closely watched by guards. The bodies of the Rhodesian Soldiers have been laid out near the fence. INT. OFFICE - DAY M'Buto stands in front of a map of the African continent. Julio stands near a desk, pouring wine into glasses. M'BUTO Soon... soon enough. Julio hands him the glass and they toast. JULIO To friendship. M'BUTO (smiling) To business deals. Let's not fool ourselves. 108. JULIO I must admit, I'm pleasantly surprised. I wasn't sure your people could pull it off. Even with the training we gave them. M'BUTO Patience and planning. That is the key. It has taken me two years to smuggle all the necessary equipment into the region under the Rhodesian's noses. JULIO (toasts) To your VIP safari tours. (he drinks) What now? M'BUTO Now we must deal with the terms of our agreement. You have lived up to your end of the contract. I can do no less. Your friends in the Kremlin will remember my generosity, no? JULIO (smiling) They have long memories for friends. But, of course, they have nothing to do with this. M'BUTO Yes, as you say. In a few days, you can take delivery of the first shipment of plutonium. What you do with it... It is not my concern. And they toast again. CUT TO: EXT. ENCLAVE - NIGHT - NEAR FENCE Next to where the Rhodesian bodies are laid out under old blankets and ponchos. Phillip and Jack are crawling toward the fence. Jack has mud smeared on his face and arms and carries one of the Soldier's jackets. PHILLIP (re: fence) How do we know this thing isn't electrified? JACK Hell of a time to think of that. 109. PHILLIP I thought it was worth a mention. Hey, hold on... Phillip reaches over beside him and grabs a snake. PHILLIP (CONT'D) Let's see if this snake does anything... Phillip grabs the snake as Jack had shown him. Jack reacts as Phillip throws the it into the fence. Nothing happens. The snake slithers quickly away. PHILLIP (CONT'D) Looks like we're okay. Jack finally moves forward and begins working with the razor wire, after wrapping his hand with the jacket. As he works; JACK Have you ever heard of a Boomslang? PHILLIP Sounds like a jock strap. JACK It's one of the most poisonous snakes in Africa. PHILLIP (beat) After this is all over, I'm going to be very sick. Jack has the wire loose and lifts it up, allowing enough room for them to crawl underneath. They are now within the perimeter, next to the covered bodies of the Rhodesians. JACK The main building with all the antennas. That's got to be it. An APC rumbles in their direction, its powerful searchlight scanning the fence. Jack grabs Phillip and they dive under the blankets with the bodies. The APC drives off. Jack uncovers himself, then uncovers Phillip. Phillip's eyes are wide with what he just came face to face with. INT. MAIN BUILDING - NIGHT - CELLAR

One of the windows high on the wall is forced open and Phillip and Jack drop down. They head over to a stairway and move up cautiously. 110. INT. MAIN BUILDING - HALLWAY Phillip and Jack duck and dodge into doorways, avoiding the occasional poacher, as they head down the hallway. Finally; PHILLIP This is it. The door is marked "Operations". Jack carefully turns the knob and lets the door swing open slightly, as if the wind pushed it. A beat, then the door is shut from the inside. Jack opens the door again. As soon as someone starts to shut it, Jack plows into the door. INT. MAIN BUILDING - OPERATIONS ROOM The Guard on duty is pushed back against the wall with a crunch as Jack spins into the room, catching another guard in the throat before he can stand. It is all over before Phillip has a chance to enter. When he does, however, he enters in a prepared, martial arts stance, imitating Jack. PHILLIP You have to teach me that some day. Phillip moves around, inspecting the equipment. This is a large room. A basic computer terminal and radio equipment take up the wall space. A glass partition separates them from the air conditioned computer tape banks. PHILLIP (CONT'D) Just as I thought. Univac. Nice... very nice. Phillip sits down at a computer terminal and begins hacking. Meanwhile, Jack has found a shortwave radio. He turns it on and it squeals, much to Phillip's annoyance. After adjusting the tuning, he picks up the microphone and; JACK (into mic) Alpha, ten bravo charley... Alpha, ten bravo charley... Co-ords eleven, sixteen, thirty nine. Ignition, repeat, ignition. PHILLIP What's that all about? JACK One last chance for the Marines. Do you know what you're doing with that? 111. PHILLIP Every reactor has a test program for simulated meltdowns. I just have to track it down and start it going. Simple. Once those alarms go off, watch the bad guys race for the woods. Jack nods and turns toward the door. Phillip stops him with an excited, adrenalized smile. PHILLIP (CONT'D) I could almost learn to like this. JACK Don't. And with that, he is gone. CUT TO: EXT. ENCLAVE - NIGHT - VARIOUS SHOTS Jack rolls out through the window. He scans the area, his eyes resting on the watchtower. The poachers in the watchtower keep a casual lookout over the area. Behind them, a shadow moves. Jack twists the head of one man, sending him down. The other brings up his weapon. Jack grabs the cord from the radio, wraps it around the poacher's neck, and flips him over his back out of the tower. The man falls two feet before being jerked to a stop. He dangles there, lifeless. Jack hauls him back in, then turns to the machine gun. He pops the chamber and pulls out the rod. Pocketing it, he goes back over the side. The APC has halted, the engine still running. Two of M'Buto's men sit casually on the top, talking. Jack sidles up to the machine, opens an access panel revealing a tool kit and grabs a large wrench. He moves to a prominent bolt in the tread and gives it a few solid turns. The helicopter sits by itself. Jack moves toward it. CUT TO: INT. MAIN BUILDING - OPERATIONS ROOM Phillip is still concentrating on the screen. PHILLIP Yes.... access operational procedures... try a random code... Dammit! Hold on, hold on... patience is a virtue. Again... CUT TO: 112. EXT. MAIN BUILDING - NIGHT - ROOF Jack slips along silently. He is checking the skylights, heading toward one that is bright with interior light. He gets to it and peers down. INTERCUT - THE HOLDING ROOM The rest of the safari is here under guard. All except Julio. Maggie is next to her mother. A beat, then; MAGGIE Mom... DIANE It's okay, Maggie. Everything's going to be all right. MAGGIE I.... I love you. DIANE I love you too, honey. Maggie hugs her, burying her face into her shoulder. Diane strokes her hair. DIANE (CONT'D) Nothing's going to harm you, baby. I promise. I won't allow it. Meanwhile, Jack is looking at his watch. INT. MAIN BUILDING - OPERATIONS ROOM Phillip has found it. PHILLIP Hah! Got you, you little sucker... His fingers fly over the keyboard. PHILLIP (CONT'D) Load sequence and run... With a proud flair, he circles his finger over the board, ready to plunge it down. His finger doesn't make it as he is pulled backward by the poacher who opened the door. Phillip is fighting for his life. The poacher is an animal when it comes to infighting. Phillip is, well, a diplomat. He can only dodge and weave as the man comes at him. Finally, Phillip gets his inspiration. He sets his feet, chops his hands out in a perfect martial arts rendition, and makes a low guttural sound. Not having seen too many Bruce Lee movies, the poacher is not intimidated. He charges Phillip. But, now, Phillip does an interesting thing. 113. He imitates what he has seen Jack do, spinning and flowing. Not well, perhaps, but it is a combination of martial arts and Artaud's dance instruction. This confuses his assailant. At a crucial moment, Phillip brings his fist up, backhanding the poacher in the face and dropping him to the ground. Out cold. Phillip looks at the poacher, then to his fist in amazement. A quick kiss to his knuckles and he is back at the keyboard. He punches his finger down on the keyboard and; ALL HELL BREAKS LOOSE - NIGHT - VARIOUS SHOTS Sirens begin to wail. Red lights begin flashing. It is a meltdown alert. M'Buto looks up from his desk. Rashid grabs his automatic. The safari members are startled, along with their guards. Jack smiles to himself. Poachers run to their trucks as steam vents from the reactor building. They are quick to make their escape but the gate won't open. No one in the watchtower seems to be paying attention. The APC fires up, the poachers apparently intent on ramming the gate. It quickly moves toward the gate. Suddenly, the result of Jack's handiwork is shown as the tread bolt comes off and the tread unwinds from the tracks. The APC is helpless, spinning around in a circle. The men abandon it. The sirens and lights continue sending the place into a panic. In desperation, the men begin climbing over the fence and running into the woods. A bad mistake as Malaka and his men pounce on them. This is their element and no one can beat them here. Hand made spears are launched from the darkness. Rope traps lift poachers into the trees. And the ground opens up, sending some men to an uncertain fate. Phillip is gleeful, spinning around in the chair. The poacher begins to recover. Phillip punches him in the face and he goes down again. INT. MAIN BUILDING - HOLDING ROOM Rashid storms into the room. The guards all talk at once, asking what to do. And, for the first time, we hear Rashid speak. And we aren't going to like what he says. RASHID (KiSwahili) (Kill them all!)

The poachers cock their automatics. The tourists know what is coming. The skylight crashes in. Jack drops to the floor behind a poacher. 114. JACK Everybody, hit the floor! The tourists drop. Using the poacher's body as a shield, Jack reaches around, grabs the man's automatic, and sprays the room. The guards fall. Except Rashid, who ducks out of the room. DIANE Thank God! We thought you might be dead! JACK Everyone stay here. You'll be safer. The alarms are just a simulation. DIANE Jack... JACK Stay here. He exits. INT. MAIN BUILDING - HALLWAY OUTSIDE HOLDING ROOM Jack pops out, aware that Rashid might be waiting to ambush him. Nothing. Jack heads off down the hallway. INT. MAIN BUILDING - OPERATIONS ROOM Phillip is looking out the window, reveling in the excitement he has created. PHILLIP Okay, Jack-meister. We're doing it. Hot damn, we're doing it! He turns. A fist catches him in the face. He drops to the ground. Julio stands over him, angry. He pulls out a stiletto and leans down. Jack bursts into the room. Julio sees him and hides the knife. JULIO Help me! He's hurt! JACK What happened? JULIO The guards... they ran when the sirens began. I ran down the hallway and found Senor Lansing... fighting with that one. 115. Jack leans over to check Phillip. JULIO (CONT'D) Is he okay? JACK Yeah. But he'll have a headache tomorrow. Come on, we have to... Julio's stiletto plunges deep into Jack's side. Julio grabs him around the throat, holding him. Jack reacts on instinct, his arm pushing out to release the stiletto from his ribs. At the same time, he bites into Julio's arm. This is no stage bite like we've seen before in the movies. Flesh is torn on this one. Julio screams and is thrown back. Jack holds his side as Julio charges him again, bringing the stiletto up for Jack's soft underbelly. Jack moves with the attack, grabbing Julio's arm, deflecting the jab and turning them both through the glass partition into the computer room. The fight continues, but not too long. Julio is a nasty fighter, raised on the European rules of street fighting. Jack's education has a much wider base and it shows. It ends with Julio underneath a shelf unit. Jack grabs the stiletto. The temptation is there; Julio's throat is there. Jack resists it and merely punches the guy again, guaranteeing his non-participation. Phillip gets up, holding his head as he inspects the hole in the glass partition. PHILLIP (groggy) Don't ever offer to do my windows. Jack walks to him, clutching his side. JACK You okay? PHILLIP (nodding) Boy, we make a pair, don't we? (re: Julio) I take it he's a bad guy. JACK Come on. He helps Phillip over to the door. EXT. MAIN BUILDING - DAY (DAWN) The sun's rays begin to illuminate the sky. Jack and Phillip support each other as they exit the building. Not a poacher in sight. Suddenly, gunfire rips into the doorframe next to them as they jump for cover. Rashid empties his clip, then runs off, changing clips as he goes. 116. JACK I have had it with that guy! Determined, he sprints off, his wound ignored. Phillip watches him leap onto a stack of barrels and up on the roof. EXT. MAIN BUILDING - ANOTHER ANGLE Rashid rushes around the corner. The helicopter is in the background, his ultimate destination. He turns and crouches down, aiming his AK-47. He is positive Jack is coming after him. He is right. Unfortunately for Rashid, Jack has taken the "as the crow flies" route. He leaps down on him from the roof. Armageddon is joined. Everything we saw before was merely a preliminary bout. To try and describe the action would put limits on the imagination, a much needed commodity in this case. Jack fights with a ferocity that betrays his pent up emotion. Adam's death... Joseph and his family... the elephants... his world. It all explodes. Rashid is the unfortunate recipient. Which is not to say Rashid is helpless. The man has seven inches of height and a hundred pounds of weight on a wounded Jack. During this, M'Buto appears. He uses the distraction to run to the helicopter and power it up as the fight continues. The rotors spin faster and faster, catching up to speed. Jack plows into Rashid, sending him into the side of the chopper. The chopper lifts up. Jack is on the attack again. The landing gear of the chopper clears the ground, the chopper begins to move forward. Jack avoids a punch, gets under it, and launches Rashid backward. The helicopter moves forward, the landing runner hitting Rashid in the stomach, lifting him clear of the ground. The extra weight pulls down the chopper, reducing it's clearance of the top of the building. It is just barely going to make it. Minus the landing gear. It hits the building, sending the runner through Rashid, killing him, and stripping the landing gear from the chopper. Phillip runs over to Jack as Rashid and the tangled metal drop to the ground. The chopper wobbles, then rights itself and heads off into the distance. PHILLIP Damn it! M'Buto's getting away!

JACK Wait... 117. They watch the helicopter recede in the distance. Then, the rear rotor pops off and spins down toward the jungle. The chopper begins to auto-gyrate, spinning around, out of control, but still heading forward. Jack pulls a large bolt out of his pocket, tosses it into the air and catches it. JACK (CONT'D) He still has a chance... it depends on how good a pilot he is. PHILLIP One thing's for sure... he's going to be dizzy. The chopper disappears, spinning, over the mountains. CUT TO: EXT. ENCLAVE - NEAR GATE - DAY Malaka and his men herd the remaining poachers into a circle, their hands tied behind them. Malaka's men are armed only with spears. Phillip and Jack walk around the building. PHILLIP We still have a problem, you know. JACK "We" have a problem? I thought this was always "my" problem. PHILLIP I'm talking about that little message you sent for the Marines. What if they come? JACK Louie usually has a strike team on call. They should be here in a few hours. So what? PHILLIP Give me credit for what I do know. I know politics. I know governments. He gestures widely to the Enclave. PHILLIP (CONT'D) This is too good for any government to give up. Like you said, the Rhodesians were bastards, but they were our bastards. What if this was a U.S. operation all along? All we've really done is change the flag. Jack realizes the truth in Phillip's words. 118. JACK You're right. And Louie will be here in person to claim the prize. At that moment, the tourists start to come out of the building, looking about in awe at the legacy of battle. PHILLIP Wait... oh, wait a minute... JACK You have another idea? Jack notices Phillip is looking at the tourists. Phillip looks at him and smiles. Jack realizes Phillip's point. He smiles. PHILLIP We're thinking alike. JACK Scary. They walk over to the tourists. Diane runs up to Jack, concerned about his wound. Maggie goes to Phillip. A beat, then she holds out her hand. He slaps her five. JACK (CONT'D) Okay, now everyone has been through a lot and I may be asking too much, but there's one thing you can do for me. Something very important. Off their puzzled looks, we; TIME CUT TO: EXT. OVER JUNGLE - DAY Five Huey helicopters race low over the trees. The choppers have no markings, only rocket pods and gatling guns. Armed to the teeth. Like the commandos inside. LOUIS DELGADO He sits in the lead Blackhawk, his face smeared with camouflage, an M-16 at the ready. He is loving this shit. THE BLACKHAWKS As they bank gracefully as one, heading in for their assault run.

EXT. ENCLAVE - DAY Suddenly, the Hueys appear. In a well practiced assault movement, three of them land, spilling their troops into 119. ready positions. Another drops men on the rooftop of the main building. The fifth hovers, ready for anything. Louis Delgado walks forward, his face a mask of disbelief. ANOTHER ANGLE To reveal Malaka and his men, in proud tribal gear. Ceremonial spears, feathers and shields. They are performing a ritual dance of victory. In front of them are our tourists, all snapping pictures. Not just of the dance, but of everything around it. Including the reactor. Phillip and Jack stand to one side, ready to greet Louis. Phillip walks up, his hand extended. PHILLIP How do you do, Mr. Delgado. Phillip Lansing, undersecretary... well, let's just say I work for the State Department. LOUIE (to Jack) Who is this joker? JACK He works for the United States. Perhaps you've heard of them? Louis looks at Phillip, realizing. PHILLIP (nodding) That's right. I'm your joker. Louie looks helpless. LOUIE Jack... what am I supposed to do with this now? These people... JACK These people will attest to the fact that you and your men destroyed this illegal facility. Under the guidance of a State Department official. Louis shoots Jack a look of pure hatred. PHILLIP Give us a few more minutes of picture taking before you plant your charges, won't you, Mr. Delgado? 120. Off Phillip's ingratiating smile, we; CUT TO: EXT. THE ENCLAVE - LONG AERIAL SHOT - DAY It looks deserted. Then, it explodes! Every trace of the facility goes up in dust. The camera continues upward, encompassing the destruction of this blight on the landscape. As the music swells, we slowly; DISSOLVE TO: WHITE The music continues to swell, louder and more intensely, as we begin to; FADE IN: INT. UHURA REGIONAL AIRPORT - DAY - CLOSE ON PHILLIP He is talking on a phone. He is his old, immaculate self again, with the exception of Jack's oversize, worn bush jacket, which, oddly enough, seems to fit him. PHILLIP I have to change planes in Paris so that should put me in at about nine o'clock tomorrow. It'd be great if you could pick me up, Dad. Yeah, I'm looking forward to it, too. Something tugs on Phillip's arm. We pull back to reveal Maggie, trying to get his attention. She has his Swiss knife and has all the blades out. PHILLIP (CONT'D) Yeah... hold on, Dad. Just a minute... (to Maggie) What? MAGGIE Do you really like that luggage? 'Cause if you don't, it's history. Phillip looks over to see a repeat of his arrival. The Customs Agent is obviously admiring his luggage. Phillip starts to yell, then changes his mind. He pulls some money from his pocket and hands it to Maggie.

PHILLIP Here. Pay off the nice Customs Man. She cheerfully trots off to do her duty, closing and opening the knife as if it were her new toy... which it obviously 121. is. As she walks way, we can see the rest of the Customs room. The rest of the safari members are in line, having their luggage checked. Phillip returns his attention to the phone. PHILLIP (CONT'D) Yes, I... Huh? Yeah, I finally found a woman I can relate to. Too bad she's only thirteen. Hold on another moment... Phillip's attention is diverted to the open doors. Jack's Rover pulls up, filled with agricultural supplies. Kabril is driving. Jack hops out and comes inside the building. Phillip waves to him and he walks over. PHILLIP (CONT'D) (into phone) By the way, has Courtney Tyler retired from HUD yet?... Don't make a big deal out of it. It's not like I'm joining you on the liberal picket line. It's a career move. Jack joins Phillip at the phone. He does not look too pleased. PHILLIP (CONT'D) Okay, Dad, I gotta' go.... Yeah... See you when I get there. Wait... Dad...? Uh... no, I'll just see you. He turns his back to Jack and speaks in a low tone. PHILLIP (CONT'D) Love you. He hangs up quickly and turns back to Jack. A beat of glaring, then; PHILLIP (CONT'D) What's with you? Your pet peeve die? Jack holds up a document. Phillip takes it, reads it, and smiles. PHILLIP (CONT'D) Neat. Congratulations. JACK Your fingerprints are all over this. Your fucking bureaucratic fingerprints... 122. PHILLIP My fingerprints? On an official commendation from the Kenyan government? Don't give me so much credit. (beat) Then again, I was at Badu's political rally last night. He certainly seems to like me... and you. (then) Hey, what are you complaining about? With M'Buto out of the way, Badu is a shoo in. You'll get your irrigation license and everything will be hunky- dory. Jack takes the document from him JACK (deliberate) I hate these things. PHILLIP Then you'll really be pissed at the one from Washington. Phillip bats his eyes with his most innocent smile. At that moment, Diane walks up. Phillip takes his cue. PHILLIP (CONT'D) Excuse me. I have to go see what the wildebrat did with my luggage. He moves off as the two of them share an awkward moment. DIANE I'm glad you came. I wrote you a letter, you know. JACK You don't have my address. DIANE I wasn't going to send it. JACK What would I have read? If you had sent it? She takes an uncomfortable beat, then turns her attention to his waiting Rover.

DIANE (re: Kabril) She's very pretty. 123. JACK And smart. And efficient. And, there is nothing between us. (beat) Do I get to see the letter now? Diane shakes her head, regretfully. DIANE It's filled with things that never happened. And never could. The moment is ripe with impossibilities. Too ripe, in fact. There is no answer to the reality they face. DIANE (CONT'D) (smiling; ala Ingrid Bergman) Well, we'll always have Nairobi. Off his smile, we; CUT TO: EXT. TARMAC - DAY The passengers are boarding the DC-3. Diane and Maggie stop at the top of the stairs and turn back to wave at Jack. He stands with Phillip off to one side. He waves back as they disappear into the plane. Phillip and Jack are left alone to deal with their good-byes. JACK So, I imagine you'll put all this behind you and go back to your politics. PHILLIP I've got some things that I need to take care of, yeah. But this place can sure make an impression on a guy. How about yourself? Back to the farming grind? JACK I'm turning that over to Kabril. (beat) M'Buto was just the tip of the iceberg, Phillip. There are a lot more like him out there. PHILLIP And you're going to take them on? JACK (shrugging) I'm going to do what I can. 124. PHILLIP Yeah, I know what you mean. It's all you can do. But if you don't try, you're part of the problem. The engine on the DC-3 begins to fire up. PHILLIP (CONT'D) So, next time you're in Washington, let me show you the same good time you've shown me. JACK You got it. PHILLIP That was a joke, you know. JACK Right. Phillip starts to move off, then turns and heads back, his arms outstretched for the inevitable hug. PHILLIP Oh, what the hell. He doesn't even get close before; JACK You do it, I kill you. Now. Phillip immediately changes his approach, grabs Jack's hand, and gives it his old political pump. With that, he heads up the ramp into the plane. CUT TO: INT. LAND ROVER - DAY Kabril waits for Jack. The door opens and he gets in. KABRIL Home? JACK Home. She starts the engine. CUT TO:

INT. DC-3 - DAY - ON PHILLIP He has a window seat and has settled in for the duration. A beat, then he reaches into his carry-on bag and pulls out something. 125. A diary with a colorful cloth wrapped around it; his mother's diary. He starts to pull the ribbon free when he looks out the window to see; PHILLIP'S POV Far below, a herd of elephants graze the plains. Even from this height, Phillip's breath is taken away by the majesty of it all. From this view, one could never imagine them as being an endangered species. And Phillip knows that if it is up to Jack, they won't be. BACK TO SCENE Phillip regains his breath. He pulls the cloth free and opens the diary. As he begins to read, we HEAR the voice of a woman, in Phillip's mind, the voice of his departed Mother; MOTHER "Lost in thought, am I, that the voice might be silenced forever, and the whispering winds might grow still and die before the Orphan comes home." INT. LAND ROVER - DAY - CLOSE ON JACK He stares out at his land. MOTHER "If Africa is just a word, let it be the name of an old friend I have yet to meet." Jack's eyes slowly move up to the sky... EXT. PLAINS - DAY An elephant trumpets toward the sky, as if in salute to the DC-3 that flies overhead and into the African sun. FADE OUT: THE END