发信人: zerod()
整理人: fallingstar(1999-12-29 10:51:44), 站内信件
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转载自：大嘴乐园
The Mummy
The UNIVERSAL PICTURES globe spins. Then comes to a stop on the Africa
n
continent. A golden papyrus MAP of ANCIENT EGYPT rises up. WE PUSH IN
on
it, towards a CITY along the Nile, it's name written in hierarchic. WE
KEEP
PUSHING IN until the golden map turns to golden sand and we find ourse
lves
DESCENDING on this ancient Egyptian city. Only it's not ancient.
SUPERIMPOSED across the SCREEN are the WORDS.
TREBES - 2,134 B.C
Accompanied by a NARRATOR with a very thick Egyptian accent:
NARRATOR
Thebes. City of the Living. Crown
jewel of Pharaoh Seti the First.
The CAMERA sets-down in an open plaza. An Arabian horse-drawn CHARIOT
comes
barreling right at us, driven by PHARAOH SETI; an aristocratic, virile
old
man. The chariot WIPES FRAME.
INT. ANCK-SU-NAMUN'S BALCONY WINDOW - PALACE - DUSK
Glaring out over the city at the setting sun is a handsome, muscular M
AN
with intense, evil eyes. This is IMHOTEP.
NARRATOR
Home of Imhotep, High Priest of
Osiris, Keeper of the Dead.
A gorgeous, olive-skinned goddess enters the outer foyer. It takes us
a
moment to realize that the skin-tight dress she's wearing isn't a dres
s at
all, but rather her entire naked body has been PAINTED in the ancient
Egyptian manner She's a stunning sight to behold. This is ANCK-SU-NAMU
N.
NARRATOR
Birthplace of Anck-su-namun.
Pharaoh's Mistress. No other man was allowed
to touch her.
She makes her way through the ornate statuary. The CAMERA comes to a s
top
on a CRACKED STONE FACE. A BEAT. And then it's eyes suddenly POP OPEN.
It's
really a strange looking TATTOOED MAN. Several more of these hideous,
bald
MEN stand nearby. They are the PRIESTS of Osiris. Imhotep's guys. Thei
r
eyes watch Anck-su-namun vanish through the bedroom curtains. Anck-su-
namun
embraces Imhotep, they kiss passionately, feverishly. Imhotep's hands
roam
over her perfect body, smearing the paint. The Narrator's VOICE fills
with
lust:
NARRATOR
But for our love, we were willing to
risk life itself.
And we realize that the Narrator is actually Imhotep himself
on the other-side of the curtains, the bald Priests rush over and clos
e the
doors. But just as they do, the doors suddenly BURST OPEN. Pharaoh ang
rily
strides in, looks at the Priests. The following DIALOGUE is in ANCIENT
EGYPTIAN, --SUBTITLED.)
PHARAOH
What are you doing here?
The Priests back away, scared shitless, obviously his arrival was
unexpected. Pharaoh strides for the curtains. Throws them back.
Anck-su-namun stands alone. Gives him a sexy smile. Pharaoh sees the
smeared body paint. Points his finger.
PHARAOH
WHO HAS TOUCHED YOU?!
>From behind him, his sword is ripped out of its scabbard. Pharaoh spi
ns
around. It's Imhotep. Pharaoh is shocked.
PHARAOH
Imhotep? .... My priest.
Behind him, Anck-su-namun lifts a dagger and plunges it into his back.
Pharaoh SCREAMS. Imhotep raises Pharaoh's sword. The hideous bald Prie
sts
SLAM the doors and bolt them tight. Through the curtains, they see the
SHADOWS of Anck-su-namun and Imhotep stab away at Pharaoh. Suddenly, t
he
doors are RAMMED from the other side, --WHAM! Imhotep and Anck-su-namu
n
turn and look. --WHAM! The doors are RAMMED again. The two lovers shar
e
desperate looks. --WHAM! The bald Priests run up and grab Imhotep and
try
and pull him towards the balcony.
PRIESTS
Pharaoh's bodyguards!
Imhotep tries to break free, but Anck-su-namun rips Pharaoh's sword ou
t of
his hand and pushes him towards the balcony.
ANCK-SU-NAMM
You must go. Save yourself.
Only you can resurrect me.
Imhotep's face fills with despair. The DOORS EXPLODE OPEN. MEN with
BLUE-TINTED SKIN and strange PUZZLE-TATTOOS over their bodies stride i
n,
armed to the teeth. These are the MUMIA. The Priests hustle Imhotep ou
t
onto the dark balcony just as the Mumia rip through the curtains.
Anck-su-namun points at Pharaoh and hisses--
ANCK-SU-NAMUN
My body is no longer his temple!
She PLUNGES the sword into her own heart. out on the balcony, Imhotep'
s
mouth opens into a horrible silent scream .........
NARRATOR/IMHOTEP
For murdering Pharaoh, Anck-su-namun's body
was to be cursed. And it was I, the High
Priest, whose duty it was to curse it.
EXT. SAND DUNES - NIGHT
Imhotep leads-a TORCH-LIT procession across the dunes. Anck-su-namun's
mummy is carried by NUBIAN SLAVES. They pet her down in the sand along
with
FIVE JEWEL ENCRUSTED JARS.
IMHOTEP
Her body was mummified, her vital
organs removed and placed in sacred canopic
jars
Imhotep, filled with dread, reads from a OBOOKO made out of pure GOLD.
THIS
IS THE BOOK OF THE LIVING.
IMHOTEP
The Book of The Living contained
sacred incantations that would send the evil
dead on a journey into the dark underworld.
Strange LIGHT suddenly FLASHES across Anck-su-namun's body and across
the
faces of the slaves and the EGYPTIAN SOLDIERS Suddenly, everyone's
fear-filled eyes all rise, as if watching Anck-su-namun's body rising.
Then
one last HUGE FLASH, accompanied by a BLAST OF WIND, and it's over.
Anck-su-namun's body now lies twisted on the ground.
Imhotep's Priests place the body into a stone sarcophagus. The Nubian
slaves lower it into a hole and bury it with sand Imhotep then signals
to
the Soldiers, who throw their spears at the Nubians. Killing them.
INHOTEP
The slaves were killed....
Imhotep's knife-wielding Priests attack the now unarmed Soldiers, hack
ing
at them in the flickering darkness as Imhotep and the Mumia solemnly
watches.
IMHOTEP
.... and the soldiers who killed them
were also slain, so that no unholy person
should ever know the exact location of the
burial site.
The Mumia walk off across the sand and then, one by one,
the Priests stop their frenzied stabbing and stare off at the
vanishing Mumia. As the last Mumia disappears over a distant
dune, Imhotep nods, and the Priests leap onto Anck-su-namun's
grave and begin digging it back up with their hands.
EXT. SAHARA DESERT - NIGHT
CHARIOTS race out into the moonlit desert. Imhotep leads the way. A
"hearse" carries Anck-su-namun's mummy. THE MAP OF ANCIENT EGYPT FADES
UP.
The chariots race across the map.
IMHOTEP
But there was another book, The Book
Of The Dead, which was never to-be opened,
never to be read, for it contained the
incantations that could bring a dead body
back to life a most unholy thing.
The chariots arrive at a place marked on the map in hieratic. They rac
e up
the stone ramp and in through the city gates. SUPERIMPOSED across the
SCREEN are the WORDS:
KANUNAPTM - City of the Dead
IMHOTEP
It was hidden at Hamunaptra, City of
the Dead, inside the statue of Anubis, so
that no such sacrilege might ever disgrace
Egypt.
EXT. HAMUNAPTRA - ANUBIS SITE - NIGHT
Imhotep pulls an ORNATE CHEST out of a SECRET COMPARTMENT inside the g
iant
STATUE OF ANUBIS. He opens the chest and lifts out THE BOOK OF THE DEA
D,
made of black stone.
IMHOTEP
But for my love of Anck-su-namun I
was willing to defy the gods.
INT- UNDERGROUND NECROPOLIS - NIGHT
Big hairy RATS scurry through the mausoleums and over the headstones o
f
this very large, scary, UNDERGROUND CEMETERY. A DETRITUS MOAT surround
s the
cemetery, --muck made out of filthy water and human remains. Skulls bo
b in
the goop. The Priests have gathered in a circle. Their hooded, lifeles
s
eyes seem dead to this world. Their bald heads rock back and forth as
they
CHANT, a quiet eerie HUM. Heinous creatures. In the middle of the circ
le is
a strange, twisted ALTAR.' Imhotep has unwrapped Anck-su-namun's gorge
ous,
lifeless body and placed her five sacred canopic jars around her.
IMHOTEP
Anck-su-namun's vital organs were
still fresh, so a human sacrifice would not
need be made
As Imhotep begins to read from The Book of The Dead, a large SWIRLING
HOLE
starts to open in the detritus bog. Several Priests look over at it,
frightened, then quickly look back down and resume CHANTING. A strange
MIST
wafts up out of the swirling hole and over to the jars, it passes thro
ugh
them and into Anck-su-namun's body. One of the jars SHUDDERS, the hear
t
inside begins to BEAT. The CHANTING PRIESTS, SWIRLING HOLE, WAFTING MI
ST,
BEATING HEART and IMHOTEP'S READINGS are reaching a crescendo.
Anck-su-namun's EYES suddenly FLY OPEN.
IMHOTEP
Anck-su-namun soul had come back from
the dead! Now all that was needed, was to
return her organs to their rightful place
within her body.
Imhotep lifts a sacrificial knife above Anck-su-namun's breast, about
to
plunge it down. The CHANTING, SWIRLING and BEATING heart CLIMAX. And t
hat's
when the Mumia BURST IN and storm through the startled Priests. The HE
AD
MUMIA SMASHES the jar with the beating heart. The MIST instantly sucks
back
out of Anck-su-namun's body and IMPLODES back into the swirling hole.
Anck-su-namun's eyes close. Dying once again. Imhotep SCREAMS in rage.
The
Mumia grab him and his Priests.
IMHOTEP
My Priests were condemned to be
mummified alive.
INT. EMBALMF.RIS CHAMBER (necropolis re-vamp) - NIGHT
Inside a TORCH-LIT CHAMBER, Imhotep is held by Anubis-headed EMBALMERS
. He
cringes at the flickering, impressionistic glimpses of his Priests bei
ng
embalmed and mummified alive. The horrid-looking Embalmers, using kniv
es,
needles and thread, calmly perform their ghastly surgery on the SCREAM
ING
Priests, who are going insane from the procedure.
A red hot POKER is pulled out of a pit of burning coals.
A Priest's head is wedged between two strong boards. His eyes widen in
terror as an Embalmer moves to insert the red hot poker up his nose. B
ut
just before he does, WE QUICKLY CUT TO IMHOTEP'S FACE, horrified, as O
FF
CAMERA, the Priest SCREAMS.
WE GO WIDE on the chamber. All twenty-one of Imhotep's Priests squirm
inside their wrappings. Imhotep is forced to his knees. His arms are h
eld
back. His mouth is pried open.
IMHOTEP
As for me, I was condemned to endure
the HOM-DAI. The worst of all ancient curses.
one so horrible, it had never before been
bestowed.
Using a pair of tongs, an Embalmer slowly pulls Imhotep's TONGUE out o
f his
mouth, then places a very sharp knife on top of it. WE-GO TIGHT on
IMHOTEP'S EYES as his tongue is apparently cut out. The Embalmer fling
s
Imhotep's tongue onto the floor. The Mumia's dogs attack and quickly e
at
it.
Imhotep is WRAPPED AL M . Only his mouth, nostrils and fear-filled eye
s are
left free of the slimy bandages. Detritus muck boils inside a black
cauldron. Embalmers scoop out the fetid muck and apply it to Imhotep's
wrappings as he squirms. He's then laid in a wooden COFFIN inside a st
one
SARCOPHAGUS. An Embalmer with a BUCKET steps up and looks into the cof
fin.
Imhotep's wild eyes stare back. The Embalmer empties the bucket over
Imhotep's chest: dozens of SCARABS, disgusting dung beetles. They scur
ry
across Imhotep's SCREAMING face. Some vanish into his tongue-less mout
h
and up his nostrils.
INHOTEP
By eating the sacred scarabs, I would
be cursed to stay alive forever. And by
eating me, they were cursed just the same.
The lid to the coffin is SLAMMED SHUT. Then, using a strange four-side
d
YCEY, the Head Mumia locks the coffin lid tight. The heavy sarcophagus
lid
is shoved into place and with a loud WHOOSH seals itself airtight. onc
e
again, the Head Mumia uses the strange key, locking the sarcophagus li
d
tight.
IMHOTEP
I was to remain sealed inside my
sarcophagus, the undead for all of eternity.
The blue-skinned, strangely tattooed man carefully collapses the sides
of
the key, --turning it into a little puzzle BOX.
INHOTEP
They would never allow me to be
released. For I would arise a walking
disease, a plague upon mankind, an unholy
flesh-eater, with the strength of ages, power
over the sands, and the glory of
invincibility.
Imhotep's sarcophagus is dropped into a DETRITUS PIT. The disgusting m
uck
SPLASHES up, drools down it-s sides, and then is mysteriously sucked i
nto
It's seams, vanishing clean.
INHOTEP
And if I could raise my beloved
Anck-su-namun from her place in hell,
together, we would be an unstoppable
infection upon this world. The Apocalypse.
The End
Imhotep's horrifying tongue-less SCREANS can be heard coming from insi
de
his sarcophagus as grave diggers shovel dirt onto it. THE MAIN TITLE I
S
SUPERIMPOSED ON THE SCREAM: THE MUMMY
The heavily armed Mumia stand guard around Imhotep's grave. Looking do
wn on
the burial site is the huge statue of ANUBIS, the jackal-headed god of
death. it stares at us. Then begins to DECAY before bur very eyes, agi
ng
4.159 years in only seconds. And then we find ourselves and the decrep
it,
half-buried statue of Anubis out in the middle of the desert.
EXT. SAHARA - HAMANAPTRA RUINS (1925) - DAY
Imhotep's horrifying SCREAMS become the SCREAMS of a TUAREG HORSEMAN.
Racing across the desert with two thousand of his warrior brethren. Ar
med
to the teeth. SUPERIMPOSED across the SCREEN are the WORDS: TEE SARKRA
-
1925
A mile across the scorching desert TWO HUNDRED FRENCH FOREIGN LEGIONNA
IRES
scurry through the ruins, preparing for the onslaught. OUR HERO is up
on
the wall. His Kepi sits at a jaunty angle. Dashing and handsome. This
is
RICK O'CONNELL. He looks out at the massive SCREAMING horde galloping
at
him.
O'CONNELL
I knew this was gonna be a lousy day.
A doughy little Frenchman joins him as he makes his way across the top
of
the wall. This is BENI.
BENI
Personally, I would like to surrender.
Why can we not just surrender?
O'CONNELL
Shut-up and gimme your bandolier,
Beni pulls off his cartridge belt. Hands it to O'Connell.
BENI
Then let's run away. Right now. while we
can still make it.
O'Connell throws it on, crisscrossing his own bandolier.
O'CONNELL
Now gimme your revolver, you'll
never use it anyway.
Beni pulls out his pistol and chucks it to O'Connell
BENI
Then let's play dead, huh? Nobody ever
does that anymore
O'Connell slides it into his belt, next to his own revolver
O'CONNELL
Now go find me a big stick.
BENI
in the desert? What for?
O'Connell turns and goes nose-to-nose with him.
O'CONNELL
So I can tie it to your back, you
appear to be without a spine
The horde of warriors THUNDERS forward. Now a half mile out. Scimitars
RATTLING. O'Connell and Beni run through the ruins.
O'CONNELL
How'd a guy like you end up in the
Legion anyways?
BENI
I got caught robbing a synagogue. Lots
of good stuff in them holy places; churches,
temples, mosques, and who's guarding them?
O'CONNELL
Altar boys?
BENI
Exactly! I speak seven languages,
including Hebrew, so my specialty was
synagogues. How about you? Kill somebody?
Beni trips and accidentally tackles O'Connell to the ground. O'Connell
gives him a nasty look.
O'CONNELL
No, but I'm considering it.
They get up and run out the gate and down the stone ramp
BENI
What then? Robbery? Extortion?
Kidnapping!
O'CONNELL
None of the above, thank you
BENI
Then what the hell are you
doing here!?
They both skid to a stop at the front line as they see the horde of
warriors.-The SOUND of CHARGING HORSES is deafening. O'Connell gives B
eni a
big cheesy smile.
O'CONNELL
I was just looking for a good time.
And that's when the cowardly Legionnaire Colonel suddenly panics, cuts
and
runs. O'Connell instantly stiffens.
O'CONNELL
Oh shit Steady!
Gives the men around him courage. But onward comes the horde Hoofs pou
nding
the sand. Several more Legionnaires take off.
O'CONNELL
STEADY!
(to himself)
What the hell am I sayin'?
The Tuaregs let loose with those horrifying oooo-loo-loog SCREAMS. Mor
e
Legionnaires haul-ass. Beni is one of them.
O'CONNELL
STEADY!!
(to himself)
What the hell am I doin'?
The Tuaregs set their rifles and take aim. O'Connell steels himself, c
ocks
and locks. The cartridge in his mouth suddenly snaps, he spits it into
the
sand. Another BEAT. And then--
O'CONNELL
FIRE!
The Legionnaires on the ground FIRE. The rifles report with a CRASH. T
he
BLAST blows dozens of Tuaregs clean off their mounts. The prone
Legionnaires quickly begin to reload.
O'CONNELL
FIRE!
The kneeling Legionnaires FIRE. More Tuaregs bite the sand. The remain
ing
warriors OPEN FIRE. THUNDER and SMOKE rip the hot air. A third of the
Legionnaires are killed instantly.
O'CONNELL
FIRE!
The remaining standing Legionnaires FIRE. Tuaregs spin off their mount
s.
Crash to the sand. And then the entire Tuareg force plows into the rui
ns
and through the Legionnaires. O'Connell grabs the barrel of his rifle
and
starts CLUBBING riders off their steeds, fighting like a man possessed
.
Beni on the other hand, is bellycrawling across the sand, whimpering i
n
full retreat as Legionnaires fall dead all around him. He crawls throu
gh
the front gate.
O'Connell throws his rifle down and goes for his guns. He cross-draws,
gun
in each hand, starts blowing riders off their mounts.
Beni crawls faster, and then he spots an open TEMPLE DOORWAY amongst t
he
rocks. He gets up and sprints for the door as the last of the Legionna
ires
are shot off their feet behind him. O'Connell's guns go empty.
O'CONNELL
Son-of-a-bitch.
He turns and runs like hell, right through the front gate. Four Tuareg
warriors on massive Arabians haul-ass after him. O'Connell hurdles a s
tone
column, hits the ground running. He spots Beni inside the Temple doorw
ay,
trying to close the heavy sandstone door.
O'CONNELL
Hey! Beni! Wait up!
Beni has no intention of waiting up, he pushes harder.
O'CONNELL
What are ya doing?! Wait up!
O'Connell runs faster. Beni pushes harder. The four Horsemen LEAP the
big
column and CHARGE after him. HOOFS POUNDING.
O'CONNELL
Don't you close that door!
DON'T YOU CLOSE TRAT DOOR!
Beni closes the door just as O'Connell reaches it. O'Connell SLAMS his
body
into the door. It doesn't budge
O'CONNELL
I'm gonna get you for this!
He turns and bolts off around the rocks. Running for his life, weaving
through the ruins. The Arabians getting closer and closer. The POUNDIN
G
hoofs getting LOUDER and LOUDER. O'Connell finally spins around and fa
ces
his attackers. The four massive horses crash to a stop in front of him
.
The vicious Tuaregs raise their rifles to finish him off. O'Connell ju
st
stands there, exhausted and beaten, then he slowly lifts his right han
d and gives them the bird.
And that's when the horses go ape-shit. All four of them REAR UP. Two
of
the Riders are THROWN to the ground. The horses SCREECH and BELLOW and
SNORT in fear, then buck like fury and haul-ass away as if the devil
himself had scared them. The thrown Riders get up and race off after t
heir
mounts.
O'Connell just stands there, stunned, then he lifts his right hand and
checks out his middle finger. And then he feels the evil himself, and
turns
around. --The shattered, decrepit statue of Anubis stares back at him.
Suddenly, the sand begins to shift under O'Connell's feet. He starts t
o
back away, keeping his eyes on the transforming sand, it looks like hu
ge
snakes are wiggling and writhing beneath it, forming lines and shapes,
--drawing a picture. O'Connell quickly turns and runs off through the
ruins. The sand stops moving, and we can now see that, drawn in the sa
nd,
is a picture of IMHOTEP'S SCREAMING FACE.
EXT. RIDGE - DAY
Up on a ridge, A GROUP OF RIDERS watch O'Connell stumble clear of the
decrepit city. O'Connell feels their presence and looks up. Very diffe
rent
from the Tuaregs, they have BLUE TINTED SKIN and faces covered in stra
nge
PUZZLE-TATTOOS. The Mumia. Still watching Imhotep's grave after all th
is
time.
The MUMIA LEADER is a huge, fierce Man in black robes, with dual scimi
tars
across his waist. His face is both handsome and horrible, blue and
tattooed. Meet ARDETH BAY. His dark eyes watch O'Connell stagger off i
nto
the open desert ........
EXT. CAIRO - DAY
Cairo, a city so old the stars have actually changed their positions i
n the
sky since it's birth. A city teeming with every form of life. A strang
e,
mysterious, wonderful city. WE SUPERIMPOSE it's name across the SCREEN
:
CAIRO
INT. CAIRO MUSEUM OF ANTIQUITIES - DAY
Deep in the bowels of the museum lie the STACKS. Rows upon rows of tow
ering
bookshelves. Filled with literature on the Antiquities. Standing at th
e top
of a tall ladder between two of these rows and leaning against one of
the
bookshelves, is a rather uninteresting British GIRL: eye-glasses,
hair-in-a-bun, long boring dress, your typical prudish nightmare. This
is
EVELYN CARNARVON. We're going to fall in love with her.
Evelyn pulls a book out from a stack under her arm, blows the dust off
it,
then places it on a shelf with other books whose titles all begin with
the
letter "O". Then she grabs another book out from under her arm and rea
ds
the title.
EVELYN
Tuthmosis? .... Now how did you get up here?
Carefully, so as not to lose her balance, she looks over her shoulder
to
the bookshelf behind her, where all the titles begin with the letter '
TO.
Then she looks down. It's a long way to the bottom. Evelyn gently sets
the
other books down on the top shelf, then turns and gingerly starts to r
each
across the aisle with the Tuthmosis book. It's a little too far, so sh
e
stretches, reaching, holding the top of the ladder with
her fingertips, she's almost got it, closer now closer.
And that's when the ladder pulls away from the shelf. Evelyn YELPS, fl
ings
the Tuthmosis book and grabs the top of the ladder, which stands strai
ght
up. Evelyn holds her breath, swaying precariously, a long BEAT, and th
en
she loses her balance, the ladder swings around and Evelyn starts
stiltwalking down the aisle.
EVELYN
OHEIUGM! ! AHHHHHH!
The ladder crosses the aisle, does an about face and heads back the wa
y it
came. Evelyn clings to the top, struggling for balance. The ladder tee
ters
out into the main aisle and picks up speed. Evelyn SCREAMS as it does
a
180, spins into another aisle and finally crashes to a stop at the top
of a
bookshelf. Evelyn holds her breath, then SIGHS HEAVILY.
And that's when the bookshelf falls away from her and CRASHES into the
next
bookshelf. Evelyn slides down the ladder and plops to the floor. She l
ooks
up just as the domino effect kicks-in: each bookshelf crashing into th
e
next. And onward it goes. Bookshelf after bookshelf. Thousands of volu
mes
flinging off shelves and scattering across the floor. It finally ends
as
the last shelf CRASHES into a wall. Evelyn's eyes are closed. She open
s one
eye. Looks left. Then right. Then opens the other eye and stares at th
e
huge mess.
EVELYN
Oops.
The Egyptian CURATOR storms in.
CURATOR
Look at this! Sons of the Messiah! Give
me frogs, flies, locusts, Anything but this!
Compared to you, the other plagues were a joy!
Evelyn quickly gets up and starts gathering books.
EVELYN
I'm sorry, it was an accident.
CURATOR
When Ramesses destroyed Syria, it was an
accident. You are a catastrophe! Why do I
put up with you?
Evelyn turns to him, trying to contain herself.
EVELYN
You put up with me, because I can read and
write ancient Egyptian, decipher hieroglyphs
and hieratic, and I'm the only person within a
thousand miles who knows how to properly code
and catalogue this library.
CURATOR
Who needs smart women? I put up with you because
your mother and father were our finest patrons,
Allah rest their souls. Now straighten up this
mess!
The Curator storms out. Evelyn just stands there, steaming. And then s
he
hears a NOISE and quickly turns around. A BEAT.
EVELYN
Hello?
Quiet. Eerie. And then she hears it again, like feet, slowly shuffling
across the floor, coming from a nearby gallery.
EVELYN
Abdul? Mohammed? Bob?
Evelyn walks through the stacks and enters--
INT. THE RAMESSEUM
Filled with treasures and plunder from the Middle Kingdom. it's very d
ark
and quiet in here, the only LIGHT is from FLICKERING TORCHES at either
end
of the spooky gallery.
The NOISE again! From the far side of the room. Feet, slowly shuffling
,
plodding across the floor. Evelyn grabs a torch. Looks around,-at a st
atue
of Anubis, another of Horus, they stare down at Evelyn, who is startin
g to
get scared now. She walks down the aisle. Past a closed sarcophagus. P
ast
cases of ancient artifacts. Past another sarcophagus, --only this one
is
OPEN! Evelyn freezes, swallows hard, nervously looks around to see who
could have opened it. Then she slowly leans forward with the torch, an
d
peers inside.
--A hideous rotted MUMMY sits up and SCREECHES at her! Evelyn
SCREAMS, drops the torch and backs away, scared out of her wits. And t
hen,
coming from inside the sarcophagus, she hears a Man LAUGHING. Her eyes
narrow as a foppish cad crawls out from behind the Mummy, laughing his
ass
off, half drunk.
EVELYN
You... ! YOU... !
JONATHAN
Drunkard? Fool? Rat-bastard? Please call
me something original.
Meet JONATHAN CARNARVON. As he crawls out of the sarcophagus, Evelyn p
ulls
a cigarette out of the mummy's mouth.
EVELYN
Have you no respect for the dead?
JONATHAN
Right now, I only wish to join them.
He grins drunkenly. Evelyn punches him hard in the chest.
EVELYN
Well I wish you'd do it sooner rather than
later, before you ruin my
career the way you've ruined yours.
JONATHAN
My dear, sweet, baby sister, I'll have you
know, that at this moment my career is on a high note.
He BELCHES, then falls back and sits on the edge of a tomb.
EVELYN
High note? Ha! For five years you've been
scrounging around Egypt, and what have you
to show for it? Nothing.
Jonathan excitedly starts scrounging around in his jacket.
JONATHAN
oh yes I do! I have something right here!
EVELYN
Oh no, not another worthless trinket,
Jonathan, if I bring one more
piece of junk to the Curator to try
and sell for you.
Jonathan pulls out a small, ancient BOX; the collapsed KEY to Imhotep'
s
sarcophagus and coffin. Evelyn is instantly curious, she grabs the box
out
of his hand.
EVELYN
Where did you get this?
Jonathan knows her weaknesses, gives her a mischievous smile.
JONATHAN
On a dig, down in Thebes
Evelyn rolls the box around in her hands, mumbling to herself as she
translates the hieratics and hieroglyphs covering it. Jonathan licks h
is
lips in anticipation.
JONATHAN
My whole life I've never found
anything, Evy Tell me I've
found something.
Evelyn's fingers play with the various little slats on the box, shifti
ng
them this way and that way, it's like a puzzle box. Then suddenly, it
UNFOLDS ITSELF, almost-mechanically, turning itself into the KEY. Sitt
ing
inside the open key/box is a folded piece of GOLDEN PAPYRUS. An ANCIEN
T
MAP.
EVELYN
Jonathan?
JONATHAN
Yes?
EVELYN
I think you found something.
INT. CURATOR'S OFFICE - DAY
The Curator sits at his desk, staring through a jeweler's eyepiece at
the key/box. Evelyn hovers behind him, excited.
EVELYN
See the cartouche there, it's the official
royal seal of Seti the First, I'm sure of it
CURATOR
Perhaps
Jonathan leans in from across the desk.
JONATHAN
Two questions. Who the hell is Seti the First?
And was he rich?
EVELYN
He was the last Pharaoh of the Old Kingdom,
said to be the wealthiest Pharaoh of them all.
JONATHAN
Alright, good, that's good. I like this fellow,
like him very much.
The Curator picks up the MAP. It's actually the exact same map that we
established in the opening scenes of the movie.
EVELYN
I've already dated it, this map
is almost four thousand years old.
And the hieratics over here....
(Inhales deeply)
It's Hamunaptra.
The Curator freezes, suddenly very nervous, then he recovers
CURATOR
My dear girl, don't be ridiculous,
we are scholars, not treasure
hunters. Hamunaptra is a myth.
JONATHAN
Are we talking about the Hamunaptra?
EVELYN
Yes. The City of The Dead. Where the early
Pharaohs were said to have
hidden the wealth of Egypt.
JONATHAN
Right, right, in a big underground treasure
chamber. Everybody knows the story. The entire
necropolis was rigged to sink into the sand. On
Pharaoh's command, a flick of the switch! And the
whole place could disappear beneath the dunes.
EVELYN
All we know is that the city mysteriously
vanished around 2,134 B.C.
The Curator holds the map closer to the burning CANDLE-LAMP.
CURATOR
As the Americans would say: it's all fairy
tales and hokum.
The map 'accidentally,' CATCHES ON FIRE. The Curator throws it to the
floor. Jonathan drops to his knees and quickly puts it out. Lifts it u
p.
The left third of the map is now missing.
JONATHM
You burned it! You burned off the part with the lost ci
ty!
CURATOR
It's for the best, I'm sure. Many men have
wasted their lives in the foolish pursuit of
Hamunaptra, no one has ever found it, most have
never returned.
JONATHAN (devastated)
You killed my map.
CURATOR
I'm sure it was a fake, anyway, I'm
surprised at you, Miss
Carnarvon, to be so fooled.
The Curator reaches for the key/box. Evelyn quickly snatches it off th
e
desk and gives him a very angry, suspicious look.
EXT. CAIRO PRISON - GALLOWS COURTYARD - DAY
Cairo prison. One of the worst hell holes on earth. Every low-life for
m of
scumbag can be found here. The WARDEN, a first rate scumbag himself,
escorts Evelyn and Jonathan across the gallows courtyard. Evelyn whisp
ers
to Jonathan.
EVELYN
You told me you found it on a dig down in Thebes!
JONATHAN
I was mistaken.
EVELYN
lied to me!
JONATHM
I lie to everybody, what makes you so special?
EVELYN
I'm your sister.
JONATHAN
That just makes you more gullible.
EVELYN
You stole it from a drunk at the local Casbah?!
JONATHAN
Picked his pocket, actually
EXT. VISITORIS PEN - DAY
The Warden ushers Evelyn and Jonathan into the holding pen.
EVELYN
and what is he in prison for?
WARDEN
I did not know, so when I heard you were coming,
I asked him that myself.
EVELYN
And what did he say?
WARDEN
He said,....he was just looking for a good time.
The interior cell door BURSTS OPEN. O'Connell is in chains, dragged by
FOUR
GUARDS, they shove him up to the cell bars. From the looks of it, he's
been
here awhile; his face is half hidden by long hair, a scraggly beard an
d
many new bruises. Evelyn looks at him, disgusted by his appearance.
EVELYN
But he's just a filthy criminal?
JONATHAN (cringing)
Way to go, Evy.
O'Connell gives Evelyn the once over, then looks at Jonathan.
O'CONNELL
So who's the broad?
EVELYN
Broad?!
JONATHAN
She's my sister, actually.
O'CONNELL
Yeah? Well, ....I'm sure she's
not a total loss.
Evelyn is stunned and furious. The Warden heads out the door.
WARDEN
I'll be back in a moment.
O'CONNELL (sarcastic)
I tremble with anticipation.
A Guard CLUBS O'Connell across the head, O'Connell's face bounces off
the
metal bars. He shows no pain, but just looks back and gives the Guard
a
nasty look. Evelyn steps closer.
EVELYN
We uh,...found .... your puzzle box,
and we've come to ask you about it.
O'CONNELL
No.
EVELYN
No?
O'CONNELL
No. ...You came to ask me about
Hamunaptra.
Evelyn and Jonathan quickly look around, hoping the guards didn't hear
him.
They step closer. Evelyn plays coy.
EVELYN
How do you know the box pertains
to Hamunaptra?
O'CONNELL
Because that's where I found it.
I was there.
Evelyn is dumbstruck. But Jonathan looks suspicious
JONATHAN
How do we know that's not a
load of pig swallow?
O'Connell looks closer at Jonathan, a glint of recognition.
O'CONNELL
Hey,....don't I know you?
JONATHAN
Um, well, you see....
O'Connell's FIST comes flying through the bars, hits Jonathan square i
n the
jaw, DECKS HIM. He hits the floor. Out cold. A Guard CLUBS O'Connell.
His
head bounces off the bars again. He shows no pain, but gives the Guard
another nasty look. Evelyn looks down at her brother, then back at
O'Connell.
EVELYN
You were actually at Hamunaptra?
O'CONNELL
I just decked your brother
EVELYN
Yes, well, (shrugs) I know my brother.
O'Connell almost smiles. There's a bit of spark to this girl.
O'CONNELL
Yeah, I was there.
EVELYN
You swear?
O'CONNELL
Every damn day
EVELYN
No, I mean--
O'CONNELL
--I know what you mean. I was
there, alright. Seti's place.
The City Of The Dead.
EVELYN
What did you find? What did you see?
O'CONNELL
I found sand. I saw death.
The warden enters. Evelyn quickly leans closer to O'Connell.
EVELYN
Could you tell me how to get
there? The exact location?
O'CONNELL
Want to know?
Evelyn leans in even closer
EVELYN
Yes.
O'CONNELL
Really want to know?
She leans her face right up to the bars, nervous and excited
EVELYN
Yes.
O'Connell steps forward and KISSES her full on the lips.
O'CONNELL
Then get me the hell outta here
Evelyn is stunned. A Guard CLUBS him, his face bounces off the bars ag
ain,
but before he can react the Guards GRAB him, YANK him away from the ba
rs
and DRAG him out of the room.
EVELYN
Where are they taking him?
WARDEN
To be hanged.
Evelyn is shocked. The warden shows-off his green teeth
WARDEN
Apparently, he had a very good time,
EXT. GALLOWS COURTYARD - DAY
Hundreds of filthy PRISONERS stare down onto the gallows as the hangma
n's
noose is draped over O'Connell's head and cinched tight around his nec
k.
Evelyn follows the warden onto a balcony above the gallows. The prison
ers
all go dead quiet at the sight of her; like jackals staring at fresh m
eat.
WARDEN
No women allowed.
EVELYN
I am an English woman.
This seems to confuse the Warden, he shrugs and sits down.
O'Connell looks up as Evelyn plops down beside the Warden
EVELYN
I will give you one hundred
pounds to spare his life.
WARDEN
I would pay one hundred pounds
just to see him hang.
EVELYN
Two hundred pounds.
WARDEN
Proceed!
EVELYN
Three hundred pounds!
O'Connell can hear every word, he looks hopeful. Other than
Evelyn, you could hear a pin drop. The HANGMAN turns to him
HANGMAN
Any last requests, pig?
O'CONNELL
Yeah, I'd like ya to let me go
The Hangman grabs the lever to the trapdoor.
EVELYN
FIVE HUNDRED POUNDS!
The Warden sets his greasy, lecherous hand on Evelyn's leg.
WARDEN
And what else?
Evelyn is revolted, she quickly shoves his hand away.
-Insulted, the Warden angrily turns and gestures to the
Hangman, who pulls the lever. The trapdoor DROPS AWAY.
EVELYN
NOOO!
O'Connell DROPS through the hole. The rope pays-out. Then
JERKS TAUGHT. O'Connell's body SNAPS at the end of the rope.
But he's still alive, because--
WARDEN
His neck did not break! Good!
Now we watch him strangle to death.
The prisoners go ape-shit, SCREAMING and SHOUTING in anger.
The GUARDS look around, nervous. O'Connell struggles at the
end of the rope, gagging. Evelyn is horrified, she quickly
turns to the warden, leans forward and whispers in his ear.
EVELYN
He knows the location to Hamunaptra.
The warden spins around and faces her
WARDEN
You lie.
EVELYN
I would never!
At the end of the rope, O'Connell is choking and gagging and
turning several shades of red. The Warden stares at Evelyn.
WARDEN
Are you saying this filthy godless
son of a pig knows where to find
The City Of The Dead? Truly?
EVELYN
Yes and if you cut him down,
we will give you ten percent.
WARDEN
Fifty percent.
EVELYN
Twenty.
WARDEN
Forty.
Evelyn hesitates, bites her lip. O'Connell's eyes bulge as he
looks up at her, he can't believe this girl.
O'CONNELL
Give .... give him .... give him GLAAAA--!
EVELYN
Twenty-five percent, and not
one single farthing more.
The warden flashes a big green smile, then YELLS in Arabic
A scimitar SLASHES the air. The rope is CUT. O'Connell
CRASHES to the ground. Half dead. Rolls over. GAGGING.
All of the prisoners BURST INTO CHEERS. O'Connell looks
up at Evelyn. She smiles broadly and waves down at him.
CURATOR'S OFFICE - NIGHT
CANDLE LIGHT FLICKERS across the Curator's face.
CURATOR
She must die
Standing in the shadows across from his desk are THREE MUMIA:
blue tinted skin, hideous facial tattoos, --the works. One of
the Mumia has a rusty metal HOOK for a hand. He shrugs.
HOOK
She is like all the others.
She will die in the desert.
CURATOR
No! She has seen too much. She
knows too much.
The Curator leans across his desk, fear in his eyes.
CURATOR
Not only does she have a map,
but she has the key.
Spooks the hell out of the Mumia guys.
HOOK
The key!? She has the lost key!?
CURATOR
Yes. No one has ever had so much,
been so close. We must stop her,
or it will be the end of us all.
HOOK
Then we will kill her, we will
kill her and all those with her.
CURATOR
And burn the map and retrieve the key.
HOOK
It will be done. But what of
the American expedition? They
leave tomorrow as well.
CURATOR
Forget the bumbling Americans,
they will be like all the others.
without the map to guide them, how
can they possibly find Hamunaptra?
EXT. GIZA PORT - DAY
SMASH CUT TO: our old traitorous friend BENI,
BENI
It is three days down the Nile,
then two days by camel, sahibs.
WE CRANE BACK: to reveal Beni standing on the bow of a
PASSENGER BARGE. Surrounded by DANIELS, HENDERSON and BURNS,
DANIELS
For all the money we're paying
you, something better god-damned
well be under that sand.
WE KEEP CRANING BACK: as Henderson slaps Daniels on the back.
HENDERSON
"Hamunaptra," Daniels, that's
all ya gotta keep sayin, to
yourself, "Hamunaptra."
Now we see all of GIZA PORT: Team of explorers swarm the
docks. Across the Nile, the PYRAMIDS spike the sky. Evelyn
and Jonathan walk along the boardwalk besieged by HAWKERS
selling everything from toy tombs to King Tut action figures.
EVELYN
Do you really think he'll show up?
JONATHAN
Undoubtedly, I know the breed,
he may be a cowboy, but his
word is his word.
EVELYN
Personally, I think he's filthy,
rude and a complete scoundrel.
I don't like him one bit.
O'CONNELL (o.s.)
Anyone I know?
They both turn. O'Connell walks up; shaved, showered, spit
and polished, with a new haircut and clothes. He looks more
dashing and handsome than ever. Evelyn is suitably impressed.
EVELYN
Oh .... um,...hello.
Jonathan grabs O'Connell's arm and shakes his hand.
JONATHAN
Smashing day for the start of
an adventure, eh, O'Connell?
O'Connell quickly checks his pockets.
O'CONNELL
Yeah, sure, smashing.
He finds his wallet and relaxes. DIRECTLY ABOVE HIM: on the
bow of the barge, Burns wipes his bifocals and turns to Beni.
BURNS
You're sure Hamunaptra is out there?
BENI
Along with the scorched bones
of my entire garrison, sahib.
And that's when Beni spots O'Connell. Beni shakes his head,
as if seeing a mirage, then starts backing away from the men.
BENI
A thousand pardons, my good sahibs
but there is much work to be done.
Beni quickly scurries off, vanishing down into the hold.
BACK DOWN WITH: Evelyn, recovering, she clears her throat.
EVELYN
Mister O'Connell, can you look
me in the eye, and guarantee me
this is not some sort of flimflam?
Because if it is, I'm warning you--
--O'Connell steps up close to Evelyn, invading her space
looks her straight in the eye. Evelyn doesn't back away.
O'CONNELL
All I can tell you, miss, is that my
Colonel found that map in an ancient
fortress, and the whole damn garrison
believed in it so much, that without
orders, we marched halfway across
Libya and into Egypt to find that city.
Like I told ya, all I saw was sand.
Everybody else was wiped-out by
Tuareg warriors. I'll take your bags.
O'Connell takes her bags and heads up the gangplank and onto
THE SAME PASSENGER BARGE THAT BENI AND THE AMERICANS ARE ON.
Evelyn's eyes follow him, a bit wistfully. Jonathan sees it.
JONATHAN
Yes, yes, you're right, filthy,
rude, a complete scoundrel,
nothing to like there at all.
Evelyn gives him a look. Jonathan just grins. And that's when
the warden suddenly brushes past, tipping his raggedy hat.
WARDEN
A bright good morning to all.
EVELYN
What are you doing here?
WARDEN
I have come to protect my
investment, thank you very much.
And up the plank he goes. Evelyn and Jonathan share a look.
WE GO WIDE AGAIN: as the barge pulls out and heads down the
Nile. WE TILT UP: to the SUN, which then DISSOLVES into--
EXT. RIVER NILE - NIGHT
--The MOON, shining down on the desert. The THREE VICIOUS
MUMIA quietly glide a narrow skiff out onto the river. The
one with the hook sits in the middle of the skiff, the other
two row, heading for the PASSENGER BARGE coming their way.
EXT. THE BAR AT THE BOW - NIGHT
Jonathan and the three Americans are playing poker. O'Connell
comes out a door carrying a GUNNY-SACK.
JONATHAN
Sit down, O'Connell, sit down,
we could use another good player.
O'CONNELL
I only gamble with my life,
never my money.
DANIELS
Never? What if I were to wager
five hundred dollars says we
get to Hamunaptra before you?
O'Connell returns Daniel's cocky look.
O'CONNELL
Yer on.
Burns slips on his dirty bifocals.
BURNS
What makes you so confident, sir?
O'CONNELL
What makes you?
Henderson spits a wad of chew into a spittoon.
HENDERSON
We got us a man who's actually been there
O'Connell's poker face drops, perplexed. Same with Jonathan
JONATHAN
I say, what a coincidence, why--
--O'Connell 'accidentally' hits him in the ribs with the
gunny-sack, shutting him up. Jonathan quickly covers.
JONATHAN
--whose deal is it? Is it my deal?
I thought I just dealt?
EXT. BARGE - NIGHT
Evelyn sits on a table, staring out over the passing river.
The gunny-sack DROPS onto the table, startling her.
O'CONNELL
Sorry, didn't mean to scare ya
ELVELYN
The only thing that scares me,
Mister O'Connell, are your manners,
O'CONNELL
Still angry that I kissed ya, huh?
EVELYN
If you call that a kiss.
O'Connell reaches into the gunny-sack and starts pulling out
revolvers, pistols, hunting knives, a massive elephant gun,
and a half dozen carefully wrapped sticks of dynamite.
EVELYN
Did I miss something? Are we
going into battle?
O'CONNELL
The last time I was at that place
everybody I was with died.
This takes the smile off Evelyn's face. O'Connell starts
dismantling and cleaning the guns.
O'CONNELL
There's something out there, you
know, something under that sand.
EVELYN
Yes, I'm hoping to find a certain
artifact, a book, actually, my
brother thinks there's treasure.
What do you think is out there?
O'Connell looks into Evelyn's eyes.
O'CONNELL
Evil. The Tuaregs and the Bedouin
believe that Hamunaptra is cursed,
they call it, "the doorway to hell"
EVELYN
Ahmar is Ossirion. "Passageway
to the underworld", actually.
She gives him a know-it-all grin.
EVELYN
I don't believe in fairy tales
and hokum, Mister 0'Connell, but
I do believe that one of the most
famous books in history is buried
out there, The Book Of The Living
It's what first interested me in
Egypt as a child. It's why I came
here, sort of a life's pursuit.
O'CONNELL
And the fact that they say it's
made out of pure gold, makes no
nevermind to you, right?
Evelyn is surprised by his knowledge.
EVELYN
You know your history.
O'CONNELL
I know my treasure.-
Evelyn gets up to go, then she hesitates, nervous, she turns
back to O'Connell, and as matter-of-fact as possible says:
EVELYN
By the way, ...why did you kiss me?
O'Connell, cleaning his guns, just shrugs his shoulders
O'CONNELL
I was about to be hanged, seemed
like a good idea at the time.
Evelyn's eyes widen, furious, she turns and storms off.
O'Connell looks up, watching her leave, a bit perplexed
O'CONNELL
What? .... Wha'd I say?
Then he hears someone SNICKERING under the table. He quickly
reaches down, grabs that someone and lifts him up. It's Beni.
BENI
My very good friend! What a surprise
O'CONNELL
Why if it ain't my little buddy,
Beni. I outta kill you.
O'Connell sticks a knife under Beni's throat. Beni swallows
hard, then tries to weasel his way out with a big grin.
BENI
You never were any good with
the ladies, O'Connell.
O'CONNELL
So you're the one leading the
Americans, I shoulda figured.
So what's the scam? You get 'em
out in the middle of the desert
then leave 'em to rot?
BENI
Unfortunately no, these Americans
are smart, they pay me only half
now, half when I get them back to
Cairo, so I must go all the way.
O'Connell pulls the knife away. Beni relaxes, rubs his neck.
BENI
You never believed in Hamunaptra,
O'Connell. Why are you going back?
The devil himself lives out there.
They look as they hear Evelyn YELP. A single CAMEL in the
HORSE PADDOCK takes another bite at her. She YELPS again and
backs away. O'Connell grins as Evelyn flees down the deck.
O'CONNELL
The girl saved my life, figured
it was the least I could do,
keep her out of trouble.
BENI
You always did have more balls
than brains.
O'Connell's eyes narrow at the insult, he looks back at Beni
O'CONNELL
Let's make us even, shall we?
BENI
Even?
O'Connell grabs him and chucks him over the side of the
barge. Beni SPLASHES into the river. O'Connell takes his
gunny-sack and starts walking off down the deck.
BENI(o.s)
O'Connell! I am going to kill
you for this!
O'CONNELL
Sounds familiar.
And that's when he spots THREE SETS OF WET FOOTPRINTS, coming
up over the railing from the river and heading down the deck.
O'Connell quickly looks around, immediately on the alert.
INT. EVELYN'S CABIN - NIGHT
Evelyn, wearing a nightgown, stands in front of a mirror. She
gives her head a good shake, letting her hair fall loose over
her bare shoulders. Then she turns around, RIGHT
THERE IS ONE OF THE HIDEOUS MUMIA! It's Hook. He slams his
hand over her mouth and lifts up his hook, ready to strike.
HOOK
Where is the map?
Evelyn's terrified eyes glance down. Hook looks over, sees
the map lying next to a flickering candle on a nearby table,
HOOK
And the key? Where is the key?
Evelyn's eyes look confused. She shakes her head. Hook grins,
HOOK
Then I'll find it myself,
He cocks his hook, about to kill her. And that's when the
door is KICKED OPEN. O'Connell BURSTS IN, gun in each hand.
Hook spins Evelyn around and holds her out in front of him.
O'Connell looks at her.
O'CONNELL
Friend of yours?
Evelyn's eyes widen. And that's when the candle on the table
FLICKERS. Everything happens at once, READ FAST: O'Connell
spins around just as a window BURSTS OPEN. A Mumia leans in.
FIRES A GUN. Woodchips BLAST OFF the wall next to O'Connell's
head. He returns FIRE. Kills the Mumia. The Mumia falls back.
FIRING BLINDLY.-A LANTERN in the room is BLASTED. Kerosene
SPLASHES across the wall. BURSTS INTO FLAMES. Evelyn grabs
the candle on the table and JAMS IT back over her shoulder,
right into Hook's EYE. He SCREECHES in pain and lets her go.
O'Connell grabs her and YANKS her out of the FLAMING ROOM.
HALLWAY - NIGHT
O'Connell pulls Evelyn down the hall, she tries to jerk free.
EVELYN
The map! We need the map!
He shoves her up against a wall.
O'CONNELL
Relax! I'm the map!
(taps his forehead)
It's all up here.
EVELYN
Oh that's comforting.
O'Connell gives her a look, then pulls her forward
O'CONNELL
C'mon, there's still one more of
those guys around here somewhere.
EVELYN'S FLAMING ROOM - NIGHT
Hot melted wax covers Hook's face as he holds his sore eye
and struggles to the door. Then he notices the key/box on the
floor. He bends over to pick it up. And that's when the door
is KICKED OPEN again, it hits him in the ass and knocks him
into the fire. Jonathan leans in. Sees nothing but flames.
JONATHAN
EVY!!
Then he sees the key/box on the floor and picks it up,
A HAND suddenly snatches the key/box away from him.
JONATHAN
Hey that's mine---
it's Hook. His backside is now ON FIRE. He lifts his pistol.
Jonathan quickly backpedals out the door as Hook OPENS FIRE.
EXT. CAMEL PADDOCK - NIGHT
O'Connell and Evelyn race out onto the deck near the horse
paddock. People are SCREAMING and SHOUTING, lots of panic.
BLAM! A chunk of the wall is BLOWN OFF next to Evelyn's head.
O'Connell pivots and FIRES BACK. It's the last Mumia, on the
other side of the paddock. He and O'Connell exchange GUNFIRE.
Another LANTERN BURSTS INTO FLAMES. O'Connell SHOOTS OFF the
paddock lock. The horses go nuts. O'Connell FIRES over their
heads. They CHARGE FORWARD and CRASH through the door. The
Mumia SCREAMS as the horses STAMPEDE over him. FLAMES sweep
up the walls and race across the roof. Half the barge is now
ON FIRE. O'Connell throws the gunny-sack over his shoulder.
O'CONNELL
Can you swim?
EVELYN
well of course I can swim, if
the occasion calls for it.
O'CONNELL
Trust me,
He picks her up and throws her over the side
O'CONNELL
The occasion calls for it.
Evelyn SPLASHES into the water. O'Connell dives in after her.
EXT. BARGE BOW - NIGHT
Jonathan runs out onto the bow, sees the three Americans,
guns in every hand, fanning their pistols, SHOOTING
everything in sight. Jonathan just shakes his head.
JONATHAN
Americans.
Hook suddenly stumbles up behind him, --now a FLAMING TORCH.
Jonathan turns around, Hook grabs him by the throat with his
FLAMING ARM and pins him to the cabin wall. Jonathan's eyes
widen as he sees a hook rising up inside the FLAMES about to
strike him. The Americans pivot and OPEN FIRE. Blow Hook over
the railing. Jonathan turns to th |
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