Screenplay: Up from the Deep

Back story of Up from the Deep

I've written quite a few scripts, eight of which I've turned into novels that are sold on Amazon. Back around 1980, shortly after attending USC Film School as part of my navy career as a broadcast journalist, I had high hopes of becoming a successful scriptwriter. This was mainly because within a year after being transferred to the Atlantic Fleet Audio Visual Command, I was hired to rewrite a script called "Space Patrol," which was produced and released as "Midnight Movie Massacre." 

Thinking I was on a roll, I began conjuring up of an idea for another script. Having been to the Philippines on three different deployments during the 1960s, I was familiar with some of the country. And having grown up in the 50s as one of millions of "war babies," I was exposed to quite a few World War II-era movies. So, I came up with the idea for a script called "Up from the Deep" about allies captured in the Philippines who are being transported aboard a Japanese freighter that is attacked by American planes and sunk. In addition to the 1,400 or so allied POWs aboard the ship, the cargo holds were filled with contraband, including teak logs and gold.

The gist of the story is the ship is sunk and there are survivors who learn that it mysteriously surfaces several years after the war because of the teak logs. The story evolves into a race by competing forces to get the gold. As a fan of Clive Cussler, I wrote to him to ask if it was plausible for the teak logs to bring a ship back to the surface. Surprisingly, he answered (this was in the days of mail, no email) and said it sounded logical, so I went ahead and wrote the script.

I did not have connections in Hollywood at the time, so the script sat on my hard drive, or more accurately on a floppy disc and subsequent hard drives over the years. I also wrote the story as a novel, but the draft was destroyed and I did not have a copy, so the script sat for years. Recently, I thought of trying to write it again as a novel, but thought what the hell, I'll share the script here just to give it some sort of permanence on the Net.

If you're into reading scripts, I hope you enjoy Up from the Deep. In cutting and pasting the script formatting was lost. I've done a bit of reformatting for those not accustomed to reading scripts. I'll come back and keep working on it, but I think you can still make sense of it.

I'll be sharing my other scripts from time to time.

BLACK SCREEN

THE SOUND OF WATER ON METAL

A BURST of yellow light, then the sound: PTOW!

EXT. BATTLEFIELD - NIGHT

The light reveals rain hitting a scarred, rusty helmet. Below its rim blood-red eyes peer out over slick, gray mud.

SLOW PULL BACK reveals rivulets of water running down twisted lengths of concertina wire. There is a strange mixture of beauty and horror. At first, the wire resembles delicate strands of web, shinning with dew.  It is a deadly web, though. A mangled hand is entangled in its grasp.

Body parts sink in mud, broken weapons and a torn Japanese flag clings to the wire, flapping as a gust of wind tears it from the wire.  It drops into a trench filled ankle-deep with water, just as a boot steps on. The light from the flare flickers and fade. There's another POP and the light source is renewed.

American and Filipino soldiers huddle under the remains of tent halves, broken pieces of wood and metal.  The camp defenders are alive, but they don't look much better than the dead bodies at the line of wire. As some of the men try to hide from the rain, others accept their fate and sit numbly against mud walls of their fox holes.

Inside the camp, a soldier carries an ammunition box and struggles through the thick mud that SUCKS at his boots. He dodges shell craters and a burned out truck.

Just beyond the truck a makeshift corral holds several ponies. Tethered, they stand with their backs to the weather. The soldier pulls his coat up around his neck with his free hand and picks up his pace. He finally makes it to more solid ground, then along a wooden path to a gun emplacement.

ENT. MACHINE GUN EMPLACEMENT - NIGHT

The soldier, BRIAN SHANNON, ducks under a low ceiling and sets the ammo box down on a ledge cut out of the wet earth. He sits back heavily and digs into his battered coat until he finds a pack of Japanese cigarettes and his last match.  He takes great care in lighting the cigarette; inhales a long and deep.

In the bunker with him are two others: STEVE CODY, tall and powerfully-built, sitting against the opposite dirt wall, his hands wrapped around a metal coffee cup for warmth. The other man, BOBBY LEE WILLIAMS, a skinny boy from Arkansas, stares out the gun slit into the darkness.

SHANNON

That's it. No more ammo.

Cody sips from the cup, looking over the rim at Shannon.

CODY

You check everywhere?

SHANNON

Sure, sarge. If anybody's got any, they 

ain't sayin'.  And I can't say I blame 

them, either.

Bobby Lee turns from the machine gun.  He's always grinning.

BOBBY LEE

I don't know what ya'll worried 'bout. Hell, Everson and 

Rezalas'll be here, no time. You'll see. Come first light, 

we'll be waltzin' outta here.  Don't we always?

SHANNON

We never sat around waiting for the Japs to come and 

get us before. I think Sangrini has hung us out to dry.

Cody picks up his sawed-off shotgun and wipes it tenderly with a rag. Shannon takes a drag on the cigarette.

Cody looks up. He hears a familiar sound, the faint sound of a metal object dropping into a tube then a dull THUMP.  The other two didn't hear anything. Almost too casually Cody shifts to the opposite wall and plants his back against it. Shannon looks at him curiously.

The EXPLOSION rips mud and debris up outside the bunker and SLINGS it through the gun slit. Shannon and Bobby Lee dive for the floor.

EXT. CAMP - NIGHT

EXPLOSIONS erupt throughout the camp. One lands in a fox hole. A man SCREAMS. Bodies fly into the air.  A soldier runs from fox hold to fox hole. He's headed across open ground to help a wounded man when he's VAPORIZED in a BLINDING FLASH.

Just as suddenly as it began, the shelling stops. Smoke drifts across the camp and the silence is almost as deafening as the shelling was. Slowly, helmets rise above the muck and eyes peak out. A wounded soldier calls for help. No one moves.

INT. MACHINE GUN EMPLACEMENT - NIGHT

Cody peers out the gun slit into the darkness. He cocks his head. Listens. He gazes across the machine gun at a worried Bobby Lee.

Shannon comes up on the other side of Cody, who steps away from the gun and picks up a field phone. He cranks the lever and waits until someone at the other end answers.

CODY

They're at the wire.

He hangs up and returns to the gun slit.

EXT. WIRE - NIGHT

Dim figures glide silently through the concertina wire. Here and there, a face. Some mere boys; others battle-hardened veterans. All scared. All determined.

POP!

The entire area is bathed in yellow light from the parachute flair. For one terrible instant, the Japanese stare wide-eyed, frozen in the moment as the bright object hangs overhead.

The spell is shattered when the camp's defenders open fire on the Japanese. A heavy-set Japanese officer stands and raises his sword over his head.

JAPANESE OFFICER

BANZAI!

The sword goes down and he leads his men forward, oblivious to the murderous fire. All around him men fall to become stepping stones for those who follow behind.

INT. MACHINE GUN EMPLACEMENT - NIGHT

Bobby Lee is caught up in the battle fever as he swings the machine gun, raking the on-rushing Japanese marines.

BOBBY LEE

Holy shit! Where'd they all come from? Son of a bitch, 

there's another bunch. Get em, get em, get em!

Cody fires out the slit slowly and deliberately. Through the slit two men are blown off their feet by the shotgun blast. Others fall from the machine gun fire. 

Shannon brings up the last ammo box. He can't believe what he sees through the slit: it looks like a forest of legs. Fascinate, he forgets for a moment to fire. Then he HEARS a grunt and turns in time to see Bobby Lee's body hurled across the bunker and crash into the opposite wall. Shannon rushes over to him and cradles Bobby Lee's head. Bobby Lee's chest is a gaping hold.  He spits up blood and chokes as he touches his chest curiously, then looks up at Shannon's sad face.

BOBBY LEE (CONT'D)

Now, ain't I a mess.

A PIERCING SCREAM.

Bobby Lee's eyes open wide.

A Japanese soldier drops down into the gun emplacement. It was his scream that causes Bobby Lee to use every bit of strength he has left to shove Shannon aside just as the Japanese soldier opens fire with a machine gun.

Shannon is knocked cold as his head slams into a support beam.

Cody whirls around, sees the Japanese soldier and shoots him point blank. For the first time, he sees that Bobby Lee has been hit. He glances over at Shannon, who is bloodied and covered with gore from the two men. Cody thinks Shannon is dead. He looks out the slit, then again at his two friends and rushes out into the night.

Men's SCREAMS and the SOUNDS OF KILLING echo throughout the camp. The dead Japanese soldier's body lies slumped in a corner. Bobby Lee's body looks like a rag doll cast aside. Next to it, Shannon stirs. Slowly, he rises, as if pulling himself from a deep sleep. He staggers toward the entrance, not noticing either body.

EXT. CAMP - NIGHT

Shannon steps out of the emplacement into HELL.

Fighting, explosions and death go on all around him. It's as if he's immune to harm as he staggers amidst the carnage. He slowly begins to regain his wits, then goes down on one knee as an explosion nearby showers him with dirt. He finds a weapon and starts to run, passes one Japanese; shoots another. It's all so arbitrary.

Another EXPLOSION sends him sprawling. He gets up, leans against his rifle for support, then touches his face. His hand comes away covered with blood. He's numb. He looks up just as a Japanese marine charges at him with fixed bayonet. Just before the man reaches Shannon, four hands come up from a crater behind him.

Shannon is YANKED into the crater.

The Japanese soldier leaps to the crater's lip, rifle raised to jam the bayonet. His eyes go wide with surprise as a rifle and bayonet juts up from inside the crater and spears him dead center. He sways on the edge of the crater for a moment, then topples in.

The body falls across Shannon's legs. Shannon panics and struggles to get it off him. He finally manages to kick it away and stares at it as if it's some horribly, foreign object.

JOSE'S VOICE

(matter-fact)

Welcome, Corporal Shannon.

Besides Shannon, there are three others in the crater with him: a Filipino soldier, JOSE, and his two young sons, PHILLIP and JAUN. Shannon acknowledges them with a shaky nod.

SHANNON

Jose-- Juan. Phillip.

(to Jose)

You seen Cody?

JOSE

No.

Shannon looks anxiously over the crater. The fighting continues in the distance.

JOSE (CONT'D)

Corporal, the camp is finished.

Jose studies Shannon, waiting for an order. Shannon realizes, awkwardly, that he is the ranking man in the hole.

JOSE (CONT'D)

The jungle.  We must go.

Jose motions to the trees in the distance. Shannon ponders this, then pulls himself together.

SHANNON

Okay. Let's go.

The four come out of the crater together, crouched and running. The rain has started again and the fighting has moved to the far end of the camp. As they make their way toward the wire, several other camp defenders join them.

They stop at the wire and stare out across the vastness of the open ground between the wire and the trees that mean safety to them. Looks of doubt are exchanged.

A long BURST of MACHINE GUN FIRE from inside the camp makes up their minds. Shannon motions and they start for the trees.

The mud sucks at their legs as they struggle across the open ground. Each man's face tells a tale of desperation, fear or determination.

They are near the middle of the field when the mud erupts in hundreds of deadly geysers. Shannon grabs his shoulder in pain. A man next to Shannon SCREAMS and falls. To Shannon's left another man sinks to his knees then falls face first into the mud. Ahead, Shannon sees Jose's sons turn and fire back toward the wire.

The older son, Juan, is hit and thrown back as his rifle flies into the air. Oblivious to his brother's fate, 13-year-old Phillip continues to fire the weapon that is almost too big for him to handle.

Shannon reaches Phillip and sees the boy is wounded. Shannon grabs Phillip just as the boy begins to sink to his knees. Shannon struggles to carry Phillip as bullets spatter around them.

Shannon hoists Phillip into his arms and ignores his own pain. His eyes are riveted on the trees. Then he HEARS something. It is a wild, almost animal-like SCREAM that changes the MOOD instantly from stark terror to surprise and the turning of fortune against the Japanese.

AT THE TREE LINE is a scene straight out of hell. Men and horses come SCREAMING and charging out of the trees.

Shannon stops in his tracks. He is as surprised as the Japanese. A seemingly endless mass of men charge across the open ground, led by a half naked Cody, who is wildly swinging a bolo knife in one hand and firing his shotgun in the other. Cody lets out a chilling WAR CRY.

The Japanese break and run, not even bothering to fire at the charging mass.  Shannon sees Jose and makes his way over to the old soldier and hands him his son. Without a word, Shannon heads back to the camp to join the fighting.

THE CAMP

Covered with blood, Cody presents a nightmarish spectacle.The horse kicks and snorts in terror and excitement, just as much caught up in the killing frenzy as Cody, who hacks at a fleeing Japanese marine with a bolo.  Then Cody swings in the saddle as another Japanese rushes him and nearly cuts the man in half with the shotgun.

To Cody's right is another fighter on horseback. He is a tall, mustachioed Filipino who rides recklessly through the Japanese. He swings his bolo and BELLOWS bloodthirstily. 

VICTORIO REZALAS pulls the reins tight and his pony's haunches dig in as he rears up and paws the sky just as a bullet cuts across his face.  Rezalas whirls his horse around and sees the Japanese soldier who shot at him. He kicks the animal hard and it leaps forward eagerly.

The soldier runs around a burnt-out truck with Rezalas hot on his heels.

Just as the pony and rider come round the truck, the Japanese soldier jumps out and swings his rifle up. The long bayonet catches the animal just below the jaw, and with a TERRIFIED SCREAM the pony falls forward, CRUSHING the soldier and throwing Rezalas. 

Rezalas is dazed and is trying to regain his feet as another Japanese charges at him. Rezalas tries to stand firm. The Japanese is overconfident, sure of his kill. He does not see a huge figure loom up behind him.

A BOLO KNIFE swings down. The Japanese soldier's body runs a few more steps, minus its head. Cody's horse dances around excitedly.  Cody waves at Rezalas with his bloodied bolo.

CODY

(hails)

Victorio.

Rezalas waves Cody off, indicating he's okay, then runs off into the dark to join his men.

EXT. CAMP - SUNRISE

Smoke rises from the earth.

The bodies of Japanese, Filipinos and Americans lay embraced in death. The survivors walk through the carnage checking the bodies as others go about the business of the living: cooking breakfast, cleaning up equipment, bandaging wounds and catching up on sleep.

Cody washes blood from his body. Others sit near a small fire. Rezalas eats heartily from a can of rations; Jose tends to Phillip's wounds and Shannon rests against a log. Finished, Cody joins them.

CODY

How many of your people will stay?

REZALAS

The regulars only. The other-- they have farms to tend.

CODY

(to Shannon)

How many do you figure can go on?

SHANNON

Counting the walking wounded, twenty-five, thirty, tops.

CODY

We can't stay here. And we can't take the wounded.

REZALAS

The wounded will be safe now that the Japs are moving out.

SHANNON

(surprise)

What do you mean?

REZALAS

You haven't heard? He's returned. As promised.

SHANNON

MacArthur?

REZALAS

Yes.

CODY

Where? When?

REZALAS

Leyte. Three days ago. The Japanese are scurrying

 to Subic and Manila as fast as their fat little legs can carry them, 

with everything they can steal, and...He stops and looks at Cody.

CODY

What?

REZALAS

They are taking the prisoners from San Marcelino aboard a ship at Subic.

CODY

When?

REZALAS

Tomorrow night.

Cody rises and slips his shotgun over his shoulder as he picks up a canteen and other gear.

CODY

Then we move out today.

REZALAS

For what purpose?

SHANNON

They'll be in more danger than ever

 if they leave on a Jap ship.

REZALAS

Coast watchers have reported many sinkings.  But you risk much to attempt this.

CODY

I have to go. You don't.

REZALAS

I also have friends in San Marcelino.

CODY

(hint of a smile)

Good.

SHANNON

I don't think we got a chance in hell.

REZALAS

(drops a heavy arm on Shannon's shoulder)

My ancestors were once very good at taking ships 

on the high seas when the Spanish were here.

SHANNON

You're not suggesting--

REZALAS

(grins at the idea)

And why not?

SHANNON

Because they'd see us before we got near 

the ship and blow us out of the water, that's why.

 Besides, we ain't got no boat.

PHILLIP

In my village of San Filipe there are 

any outriggers. The soldiers do not watch them.

CODY

Good!

The finality in the one word tells the others there is no more debate about the matter.

PHILLIP

I can get many boats.

REZALAS

You are not going, little one.

Phillip stands like a small gladiator, hands on his hips, defiant.

PHILLIP

Why?

REZALAS

(searches for excuse)

Because you're wounded.

PHILLIP

(points at Shannon)

That one is wounded, and he's going.

CODY

He is a soldier, Phillip.

PHILLIP

I am a soldier, too. I kill many Japs.

 I fight beside my father and brother.

REZALAS

Yes, you are a soldier. And, as one, you will 

obey my orders. You will stay with the wounded.

PHILLIP

(near tears)

But, I don't want to--

REZALAS

(holds up restraining hand to silence the boy)

You are a brave fighter. But the wounded 

need your protection in order to make it to the 

mountains. Phillip starts to object; Rezalas 

takes the boy's chin in his hand.

(gentle but firm)

You will stay.

PHILLIP

(wipes tears)

Yes, sir.

REZALAS

Good.

EXT. OLONGAPO CITY - NIGHT

The streets are empty of civilians as they hide behind shuttered windows. Military trucks, loaded with Japanese troops and equipment roar down the dirt roads between ramshackle buildings. A truck passes an alley and two dark figures move swiftly through the shadows.

Cody peeks around a corner and sees soldiers marching toward him. He and Razalas dive into a pile of garbage as the squad of Japanese marines passes. A moment later, Cody and Rezalas emerge from the mess and hurry along until they reach the houses alongside a slow moving river. The brightly lit military base across the river is in stark contrast to the darkened town.

Cody moves silently toward the river. They slip into the water and swim across the narrow river to the opposite bank, then climb up through tall grass and work their way around the fringes of the camp.

At the top of a small hill they look down at the pier where huge cranes lumber down railroad tracks, carrying pallets to be loaded on a waiting ship.

Two trucks drive the length of the pier and pull up alongside the ship. The name of the ship can be seen on the fantail: Kure Maru.

Japanese marines jump out of the trucks and form two lines leading up to the ship. The four other trucks drive up. Marines flip back the canvas covers and motion their weapons for those inside to get out. The prisoners are mostly Filipino, but there are a few Europeans. As they're herded toward the ship, a staff car pulls up next to the ship. The driver gets out and hurries around to open the door. A high ranking Japanese officer, COLONEL ONO, gets out. After him, another officer gets out.

It's an American. COLONEL SANGRINI.

Cody and Rezalas are surprised to see Sangrini.

CODY

That son of a bitch! It's Sangrini!

REZALAS

Easy, my friend.

MARINE OFFICER'S VOICE

(perfect English)

That is quite all right. You will not disturb anyone.

Cody and Rezalas turn slowly to see a young Japanese marine officer and four marines with weapons aimed at them. The officer smiles pleasantly.

MARINE OFFICER

(motions toward pier)

Please, gentlemen. Let us join your friends below.

EXT. PIER - NIGHT

Colonel Sangrini is talking with the Colonel Ono. In the background the last of the prisoners climbs up the gangway to the ship. Sangrini whirls around in surprise.

CODY'S VOICE

Nice to see you, Colonel.

Cody and Rezalas walk out of the dark into the circle of light with their hands clasped behind their heads. The Japanese marines push them forward with the butts of their rifles. Cody stares at Sangrini as he and Rezalas are moved toward the ship. Sangrini is visibly shaken under the gaze.

INT. COMPARTMENT - NIGHT

More than 50 prisoners are crammed into the small room deep inside the ship. At first, Cody and Rezalas are looked on with suspicion. Then a Filipino recognizes Rezalas, pushes his way through the crowd and they embrace almost as lovers. They cry openly.

Cody searches for one face. He finally sees her. She kneels as she tends an old man, her father, JOHN PEDERSSON. Cody makes his way through the prisoners until he is standing over MARIA PEDERSSON as she brushes aside a long strand of hair from her father's face. John touches her cheek and she takes his hand and kisses it gently. John looks past her and sees Cody. When Maria looks into her father's eyes she sees he is looking at someone behind her.

She turns and GASPS.

MARIA

Steve?

His name barely escapes her lips. She looks at him unbelieving. Then she comes into his arms.

MARIA (CONT'D)

Steve-- my love. We thought you were--

Cody holds her close and strokes her black hair gently as she sobs.

MARIA (CONT'D)

Three years-- they told me-- I thought--

 thought you were dead.

Cody holds her a long time. He is on the verge of loosing it himself, but doesn't. Finally, he holds her back at arms length and brushes the tears from her cheeks. She smiles up at him bravely, and composes herself.

MARIA (CONT'D)

I'm sorry. I haven't cried in-- I didn't think I had any tears left.

(shudders involuntarily)

I didn't want to believe them. They said 

you had been killed.  Then we heard you were 

alive. The rumors-- we just were never sure.

CODY

They were almost right, once. But that was then.

I'm here, now.

(BEAT)

I heard about your mother.  Your father?

Maria moves aside and for the first time he realizes the old man is her father.

CODY

(chokes up)

John?

The old man looks up smiling through broken teeth and starved.

PEDERSSON

Sure took your own sweet time getting here.

There is deep affection between these two men and it shows as Cody places his hand on John's shoulder. John grabs Cody's arm.

CODY

(not unkindly)

Do you have any fight left in you old man?

PEDERSSON

You give me a weapon and I'll show you how much 

fight I've got left. Rezalas approaches them.

REZALAS

Steve.

Rezalas brings over a ragged looking corporal. His uniform is barely recognizable as that of an Australian soldier.

REZALAS (CONT'D)

The corporal has some interesting news as 

to where we just might be headed.

CODY

Long way from home, aren't you, corporal?

CORPORAL

Ain't we all.

(beat)

I been around these bloody nips a long time, 

now, and I can pretty well understand their lingo. 

Well, you see, I overheard one of them talkin' 

about we was headed for the Lubang Island.

(scratches for lice)

That's near Minora, I think.

MARIA

Yes, it is.

CORPORAL

I got a question for you, sarge.  I been in and out of the 

Jap prison camps pret'near all the bloody war, an' 

you don't appear to me the type to get caught so easy. 

What gives?

CODY

We've come to get you out.

CORPORAL

That would be a neat trick.

(eyes Cody and Rezalas)

You're serious?

CODY

Yes, I am.

EXT. PIER - NIGHT

The ship's horn BLASTS and the mooring lines are thrown to the pier. The Kure Maru pulls away from the pier.

EXT. SUBIC BAY -NIGHT

The ship slips past Grande Island, where thick concrete walls surround where huge shore guns guard the mouth of the bay.

INT. COMPARTMENT - NIGHT

Cody rolls over on the cold metal deck and gazes around the crowded room. Everyone appears to be sleeping. He nudges Rezalas. They sit up and each hikes up his pant leg and pulls out long, thin-bladed knives, along with delicate strands of wire. They move like cats across the room.

EXT. AT SEA - NIGHT

The Kure Maru sails without running lights. Completely dark, it is silhouetted against a full moon as it cuts a path through glass-smooth water.

EXT. OUTRIGGERS - NIGHT

A silent cadence of short-handled paddles dips into the water, propelling five outriggers toward the Kure Maru.

INT. PASSAGEWAY - NIGHT

A lone guard stands near the door leading into the prisoner's compartment. His head sinks slowly as he drifts off. His head jerks back up suddenly and he sniffs the air. He jumps up and sees SMOKE. Without hesitation, he swings open the heavy door and steps into the compartment.  Fatal mistake!

INT. COMPARTMENT - NIGHT

Cody comes up behind him and shoves the knife into the guard's neck, severing the windpipe. Another prisoner grabs the dead man's weapon. Cody hands the body to Rezalas.

INT. PASSAGEWAY - NIGHT

Cody leads the way. As they make their way along another passageway, a shaft of light cuts across their path as a door swings open and a Japanese sailor steps out. For an instant the enemies stare at one another, then the sailor bolts back into the room.

INT. SLEEPING QUARTERS - NIGHT

Rezalas snatches a chair and hurls it at the sailor, striking him in the back, sending him sprawling into two sailors. A third sailor jumps for a gun and Cody smashes him in the face, knocking him out.

MINUTES LATER

Cody and Rezalas finish tying the sailors up and stuff them into a locker.

INT. PASSAGEWAY - NIGHT

The groups splits up, each headed for passageways on opposite sides of the ship. Cody holds a hand up to stop his group just as a door opens and a Japanese marine steps out. He spots the prisoners and leaps back in the room, slamming the door. An instant later an ALARM begins ringing throughout the ship.

CODY

No sense pussy-footin' around, now.

VARIOUS SHOTS as the prisoners, armed with wrenches, meat cleavers and axes, go up against the well armed Japanese sailors and marines.  Casualties are heavy on both sides. Rezalas' group is caught in a cross-fire.

REZALAS

Fall back! Fall back!

His men a being slaughtered when an arm comes out of seemingly no where between the prisoners and the Japanese. It hurls a grenade that bounces down the passageway, careens off a wall like a well-banked cue ball and scuttles into the Japanese. There's a FLASH and EXPLOSION, then silence. Out of the small group, only Rezalas, Maria and John Pedersson are left alive.

Cody steps out of his hiding place.

CODY

Coming?

REZALAS

Where'd the hell you come from?

Cody just nods with his head for them to follow as he steps into a small opening in the bulkhead, then disappears up a ladder. Rezalas leans in and looks up, then follows Cody, with Maria and John close after.

REZALAS (CONT'D)

What is this?

CODY'S VOICE

Air vent.

INT. VENT - NIGHT

One by one, they climb up the narrow tunnel into the vent. Once there, they crawl and can hear SOUNDS of FIGHTING elsewhere in the ship. After a long struggle through the narrow vent, they emerge into:

INT. CARGO HOLD - NIGHT

They stand on a catwalk high above a cavernous cargo hold, filled with thousands of crates and military equipment, including a tank, a truck, a field gun and Colonel Ono's staff car.  They hurry down a ladder to the deck and Cody leads them through a maze of crates to a door that leads into another cargo hold. Instead of crates, this one is filled to the ceiling with giant teak logs, stacked neatly in place and chained to the deck.

They make their way through the cargo hold and step through another door into a third room. Like the first, it is filled with crates and equipment. Cody leads them to an open crate.

CODY

This is where I found the grenade.

He reaches in as he motions to another crate.

CODY (CONT'D)

(refers to writing on crate)

My Japanese isn't all that great, but I think you'll

 find something useful in there.

Rezalas finds an ax and smashes open the crate. Out spills several machine guns. He grins and tosses one to Maria and another to her father. Cody looks into another crate, then looks up curiously.

CODY (CONT'D)

Victorio?

Rezalas and the others go over to the crate and peer down into it.

MARIA

Oh, my--

Rezalas looks up at Cody with a grin, reaches in and pulls out a gold ingot. On its side is the Seal of the Philippines.

REZALAS

I knew they were thieves, but this--

PEDERSSON

There must be millions.

(points to two other crates)

They're all marked the same, as property of--

A BURST OF GUN FIRE cuts him short.

CODY

First things first.

(tosses ingot back in box)

We've got bigger problems.

EXT. KURE MARU - NIGHT

Outside the ship everything is tranquil.

INT. BRIDGE - NIGHT

The ship's CAPTAIN appears calm, but the men standing around the bridge with him are anything but calm. Danger is near and they know it.

EXT. BRIDGE WING - NIGHT

A young lookout is too busy watching over his shoulder in fear and neglects his duty to scan the sea for danger.

INT. BRIDGE - NIGHT

The Captain glances around the bridge at his men, then:

KURE MARU CAPTAIN

(Japanese)

Resume full speed.

KURE MARU HELMSMAN

(Japanese)

Aye, aye, Captain. Full speed.

KURE MARU CAPTAIN

(Japanese)

There is no need for concern. Our marines will 

have everything under control soon. We must 

remain in position.

EXT. OUTRIGGERS - NIGHT

They approach the ship as it moves toward them. The first boat moves into position just as the ship resumes full speed. Too late, the men in the outrigger cannot change course and the Kure Maru runs them down. Their SCREAMS are muffled as the boat slips beneath the cargo ship's bow.

The other outriggers pull alongside the ship as it moves past them. Grapnel hooks fly through the air. As the lines go tight, the tiny boats swing around and skip across the ship's wake and the men begin to climb up the ropes.

EXT. ABOARD SHIP - NIGHT

A wounded Japanese Sailor lurches along the deck. As he runs toward a ladder leading to the bridge, he spots a grapnel hook sliding across the deck then snag on a lifeline. The sailor glances over the side and sees the outline of a man clinging to the rope. Frantically, the sailor looks for a weapon, spots a fire ax mounted on the bulkhead, grabs it and runs to the railing.

Just as the man climbs aboard the sailor swings the ax. The man SCREAMS and falls back into the sea. The sailor looks over the side again and someone in one of the outriggers fires up at him, striking him in the chest.

EXT. NEXT DECK UP - NIGHT

A Japanese Marine is about to shoot at one of the men climbing up the rope when Rezalas steps out of the dark and plunges a knife into the man's back. Rezalas hurries down to the next deck to help his men aboard and is surprised, then angry, as Phillip climbs aboard the ship.

REZALAS

So, this is how you obey my orders!

Behind Phillip, Shannon climbs aboard.

REZALAS (CONT'D)

You! Why did you let this one come?

SHANNON

If he doesn't obey your orders, how the hell 

do you expect me to make him obey mine!

Besides, he got the boats.

The three whirl around as Cody rushes up.

CODY

We take the bridge and the ship's ours.

REZALAS

Come, I'll show you how to claim a prize ship.

INT. BRIDGE - NIGHT

The Ship's Captain paces nervously. He rings the engine room. An AMERICAN VOICE answers:

VOICE

Joe's place. What'cha need, bub?

The Captain looks at the receiver, then hangs up. As he turns to his crew, a door opens and the biggest Filipino he's ever seen steps onto his bridge. As his crew cowers, the Captain faces his enemies.

REZALAS

In the name of the Philippine government in exile, 

and our brave President Osmena, I claim this 

ship and her cargo...

POW!

Everyone jumps as the Captain fires his pistol. A tiny red hole appears in the middle of Rezalas' shirt. He looks curiously at the Japanese Captain, then at his chest.

REZALAS (CONT'D)

What a stupid thing to do...

He takes a step toward the Captain and is dead before he hits the floor. Cody catches him and eases the body down as two men grab the Captain's arms. Others bring their weapons up at the Captain and his crew.

PEDERSSON

No! That's exactly what he wants.

CODY

(hatred)

Then I'll be glad to do it for him!

Pedersson steps between Cody and the Captain.

PEDERSSON

We need him alive.

Cody studies the Captain's face. There's no fear. He lowers his weapon. The Captain eyes Cody with contempt then jerks free his right arm from the Filipino holding him, yanks the man's bolo knife from his belt and shoves it into his own belly.

Cody looks down at the dying Captain. Phillip tries his best not to cry as he strokes Rezalas' hair.

SOLDIER #1

We got company, Sarge. Better come see.

Cody and the others step out onto the bridge wing. Across the moon-lit water are at least 25 ships. The Kure Maru is in the middle of a JAPANESE CONVOY.

SOLDIER #2

Oh, shit!

CODY

Anyone know how to drive this boat?

SANGRINI'S VOICE

Perhaps I can be of assistance.

Everyone turns as three soldiers and Maria lead Colonel Sangrini to the bridge wing.

SOLDIER #3

We found him hiding in the nip colonel's room.

MARIA

(smiles slightly)

Ono decided not to come along peacefully.

Maria and her father exchange a knowing glance. He smiles his approval.  One of the soldiers nudges Sangrini forward.

SOLDIER #4

This one was enjoying all the comforts of home.

Cody steps toward Sangrini with all intentions of smashing his skull, when, again, Pedersson stops him with a hand on his arm.

PEDERSSON

If he knows how to pilot this ship...

Cody jerks his arm away.

CODY

We'll manage without him!

Sangrini tries to step back from Cody but runs into a wall of bodies.

SANGRINI

I'm an American officers!

CODY

You're a traitor!

SANGRINI

I was a prisoner, just like you.

SOLDIER #3

To hell you say! He was all cozy with that Ono.

SANGRINI

Colonel Ono was a fellow officer. He was 

only showing respect for my...rank...

CODY

(grabs Sangrini by throat)

I've heard enough.

SANGRINI

(choking)

I had no choice! Please!

PEDERSSON

What about the gold?

This catches everyone's attention. Up on 

his tiptoes, Sangrini looks puzzled.

SANGRINI

Gold?

It's very quiet all of a sudden. All eyes are on Sangrini.

PEDERSSON

The crates in the cargo hold were labeled as 

the personal property of Colonel Ono.

SANGRINI

I don't know what you're talking about.

Cody suddenly takes a pistol and slips it 

under Sangrini's chin.

CODY

Wrong answer. You're going over the side.

He starts to move the now terrified Sangrini to the side.

PEDERSSON

You don't happen to know how to navigate, do you, 

Colonel? Sangrini grabs at the glimmer of hope.

SANGRINI

Yes! Yes, I think I can.

Cody starts to lift Sangrini over the side.

CODY

Not good enough.

SANGRINI

I can! I can! Please, don't!

Pedersson puts a hand on Cody's shoulder.

PEDERSSON

Unless you can navigate this ship, I don't think we 

have much choice.

(studies convoy)

Maybe we can slip away.

SANGRINI

That'll be more difficult than you think.

(motions to one ship)

The captain of that destroyer isn't going to let one 

of his charges simply pull away from the convoy.

CODY

We'll worry about that when the time comes.

Cody grabs Sangrini's shirt. For an instant, Sangrini is sure Cody is going to toss him over the side. Then, to his relief, Cody shoves him toward the bridge.

CODY (CONT'D)

Someone take care of the bodies. Get someone 

down to the engine room who knows what he's doing.

A young Filipino soldier steps forward.

FILIPINO MECHANIC

I work in my father's garage before war. I can do it.

CODY

Take anyone you need.

ENT. BRIDGE - DAY

The sun is high and the Kure Maru is still in the middle of the convoy, which can be seen through the bridge windows. Pedersson peers through binoculars. Two soldiers guard the Japanese bridge crew. Sangrini watches the instruments. Cody steps in to the bridge.

CODY

(motions outside)

John.

Pedersson follows Cody out onto the bridge wing and gazes across the water in the direction of a Japanese destroyer. The ship is signaling in their direction with flashing lights.

PEDERSSON

Sangrini, come out here.

As Sangrini steps out, Pedersson motions toward the destroyer.

SANGRINI

What?

PEDERSSON

You tell us.

Sangrini studies the destroyer.

SANGRINI

They want to know why we haven't replied to any 

of the maneuvering instructions. They suspect something.

PEDERSSON

Any suggestions?

CODY

I don't think we have to worry about it any longer.

Cody turns from the binoculars. In the background the destroyer is turning and heading for the Kure Maru.

SANGRINI

We have to surrender or they'll blow us out of the water.

CODY

We fight.

SANGRINI

That's insane!  This is a cargo ship. How do you 

expect to fight a heavily armed destroyer?

Cody ignores Sangrini and turns to Pedersson as he points to the bow of the Kure Maru and two antiaircraft guns.

CODY

Get some men on those guns and wait for my signal.

SANGRINI

Sergeant, those are antiaircraft guns. The only thing 

you'll accomplish with those is getting everyone 

aboard this ship killed.

CODY

(to Pedersson)

Good luck, John.

Pedersson gives a slight smile and heads down a ladder.

SERIES OF SHOTS as Pedersson and Shannon direct two quickly improvised gun crews in manning the gun turrets. Others hide in various locations around the ship.

EXT. LEFT GUN MOUNT - DAY

SHANNON

(to his gun crew)

Keep down. Be ready, in case that ship 

swings around to this side.

(to man holding ammo clip)

Ready?

The man pats the clip and nods.

EXT. BRIDGE WING - DAY

From his elevated position, Cody watches the activity in the gun mounts. Maria and Phillip join him and watch as the destroyer comes closer. Maria slips an arm around Phillip's shoulders.

EXT. JAPANESE DESTROYER BRIDGE WING - DAY

The Japanese Destroyer Captain studies the Kure Maru as his ship pulls up alongside the battered cargo ship. There's no sign of life.

AERIAL SHOT

The two ships steam side by side. The AMPLIFIED VOICE of the Destroyer Captain drifts across the water:

EXT. DESTROYER WING - DAYDESTROYER CAPTAIN

(Japanese)

Hail, captain of the Kure Maru. What is the problem?

The Captain speaks into a megaphone. Then puts it down and picks up his binoculars and scans the Kure Maru.

HIS POV: SLOW PAN RIGHT TO LEFT, FROM THE KURE MARU'S BOW AND THE TWO ANTIAIRCRAFT GUNS TO THE BRIDGE. STANDING ON THE BRIDGE IS A TALL, DARK MAN, LOOKING BACK AT THE CAPTAIN WITH HIS OWN BINOCULARS. THEY STARE AT ONE ANOTHER FOR A LONG MOMENT. THE VIEW SUDDENLY SWINGS BACK TO THE GUN MOUNTS AND THE CAPTAIN REALIZES WHAT HE MISSED BEFORE:

The GUNS ARE POINTED AT HIM! There is an ERUPTION of smoke and fire as they BLAST point blank at his destroyer.

VARIOUS SHOTS between destroyer and Kure Maru. Explosions rip the destroyer apart. Sailors run to their battle stations as the general quarters klaxon BLARES. Seamen run along the destroyer's decks. The gunners on the Kure Maru track with the seamen like ducks in a shooting gallery. Men are blown apart or hurled over the side into the water.

High in the superstructure of the Kure Maru men fire down at the destroyer with pistols and rifles. The right antiaircraft gun crew blasts away at the destroyer. The destroyer gun mount begins to turn toward the Kure Maru. Pedersson points to the destroyer gun mount.

PEDERSSON

Fire at the gun mount! Fire at the gun mount!

On the destroyer, the Captain calls out orders to his gun crews and watches in agony as his ship burns from end to end. Just as his gun crew is about to fire there's a huge explosion in the water between the two ships. Water erupts upward and pours down on both vessels.

On the Kure Maru men shout excitedly when they see one of the distant Japanese ships go up in a ball of flames. They cheer wildly as a line of American dive bombers and torpedo planes come screaming down out of the blue sky at the convoy.

Cody watches in fascination as the destroyer's guns swing skyward and begin to fire at the planes. Then he realizes something.

CODY

(to bridge crew)

Get us away from that destroyer!

Before the order can be translated to the Japanese quartermaster, the Kure Maru is rocked from stem to stern when a bomb tears into it. One of the giant cargo booms is torn from the deck and, as it crashes through the superstructure, it crushes several men.

EXT. LEFT GUN MOUNT - DAY

The men are puzzled.

GUNNER

What the hell are they doing?

SHANNON

This is just another Jap ship to them!

VARIOUS SHOTS as men scramble for cover or fire up at the planes from both ships. Some are knocked off their feet as bombs continue to explode on either ship.

Cody glances across the water and spots the Destroyer Captain directing his men. At that moment, their eyes meet. The Captain salutes Cody. Then another bomb rips into the Karu Maru. Cody leans over the edge of the bridge wing and shouts to some men below:

CODY

Fire at those planes!

The gun crews hesitates a moment. Another explosion makes up their minds for them. They swing the antiaircraft guns upward.

The planes dive so close to the ships the men can see the pilots. One plane explodes in a burst of flame and steel. The gun crew CHEERS, then realizes what they've just done. They go back to the grim work of trying to stay alive.

A tremendous EXPLOSION sends everyone aboard the Kure Maru sprawling. When they get up, they find that the destroyer has VAPORIZED. Smoke and fire cover the water, but there's no sign of the ship and its men.

GUNNER

Torpedo planes!

Everyone looks to where he's pointing. Two torpedo planes skim the surface of the water as they head directly at the Kure Maru.

SHANNON

Swing that gun around!

The planes fly straight and true. The Pilot of the lead planes gives a thumbs up to his friend in the other plane, just as the second aircraft burst into flames, flips and crashes into the sea. The Pilot turns back to face his target. He pulls the lever and the torpedo falls away. Then he pushes the button on the stick and 20mm cannon shells cut across the deck of the ship.

The plane streaks past the ship as the right gun crew fires away at it. The shells finally catch up with the plane and it explodes, just as the torpedo smacks into the side of the Karu Maru. The ship is lifted out of the water. Thick, black smoke belches from every part of it as the ship begins to settle, dead in the water.

The decks are littered with dead and dying. No one is left to fight the fires. Cody watches from the bridge at the carnage. Maria and Phillip are at his side. She tries to peer through the smoke. Then she sees her father as he staggers out of the smoke, carrying a badly burned man.

They hear a WHINE and look up as a dive bomber drops out of the sky. They watch helplessly as the plane FIRES its guns. Her father and the other man fall under the fire.

Maria SCREAMS and FAINTS.

INT. BRIDGE - DAY

As Phillip follows, Cody carries Maria through what is left of the bridge. The entire bridge crew is dead.

EXT. MAIN DECK - DAY

They are surprised to find themselves walking in water up to their knees.

CODY

We've got to get out of here. She's going down.

MOMENTS LATER

Cody tries to organize the survivors. Many stand around in shock, looking more dead than alive. Cody helps Maria over the edge to Phillip in a raft, then turns to those standing around in a daze.

CODY

This wreck isn't going to stay up forever.

You've got to get off, now!

NO ONE MOVES. Some stare across the vast, empty sea. Cody tries to encourage them and pushes some toward the edge. Some seem to snap out of it and begin to lower themselves onto the rafts or into the water. Cody starts to climb over the side, when:

SHANNON'S VOICE

If you're leaving this scow, I need a lift.

Shannon stumbles out of the smoke. His clothes are shredded and smoke drifts from him like a mist. He is covered with blood and gore. He is badly burnt and his left arm is gone. He collapses.

EXT. ON THE WATER - DAY

The survivors drift a short distance from the ship. There are twenty or so men and women clinging to debris as the ship slowly sinks.

ON THE RAFT

Maria strokes Shannon's head as he lies unconscious. Phillip hugs his legs for warmth. Another woman tends to more of the wounded. Cody and others cling to the side of the raft.

CODY

How's he doing?

MARIA

He's lucky to be alive.

CODY

(glances at those around him)

Maybe.

Phillip sees something in the distance. He studies it for a moment.

PHILLIP

A storm.

VARIOUS SHOTS as the storm builds. Cody swims to the other rafts. He does the best he can to get people to hold on or tie themselves to the rafts. Some are just too badly hurt and, as the storm hits, these are the first to disappear. One by one, the survivors' numbers dwindle.

Cody clings to the raft, but his strength is no match for the power of the storm and he is washed away. As he drifts he can hear Maria SCREAMING his name. The crashing waves and rain soon obliterate any sign of the rafts.

Cody is ALONE.

He goes under a few times, then he bumps into the body of a Japanese sailor with a life jacket. Cody struggles to get the jacket off the body. By the time he gets it off the body he is too tired to slip it on as he clings to it.

FADE OUT

FADE IN

EXT. FREIGHTER S. S. MORNING STAR - DAY

A sledge hammer hits a pelican hook, releasing an anchor chain that rattles across a steel deck. The anchor splashes into murky, brown water.

EXT. SUBIC BAY - DAY

The rusting freighter sits in the middle of Subic Bay.

SUPER: FIVE YEARS LATER,

EXT. MAIN DECK, MORNING STAR - DAY

Five years older and a lot harder looking, Cody leans on the lifelines and gazes across the bay. His POV of Grande Island, its shore gun wrecked and rusting as it is already being reclaimed by the jungle. A sign hangs from the same cranes that once served Japanese ships: "Welcome To Subic Bay Naval Station."

Cody notices three of the ship's seamen preparing to lower the motor whaleboat. An old sailor walks by him and Cody says without turning:

CODY

How long before the boat goes ashore?

The seaman stops his meager attempts to look busy.

IRISH SEAMAN

T'wont be long. We be lowering the whaleboat any minute.

CODY

You been here before?

IRISH SEAMAN

Oh, sure. Many a' time.

CODY

You know the Shamrock?

IRISH SEAMAN

(grins through broken teeth)

Hell, man, Shannon being the only other 

Irishman in these parts, where else would a man go!

He spits over the side. There's a SCREAM of protest from the whaleboat. He motions toward the town of Olongapo, just outside the Navy Base.

IRISH SEAMAN (CONT'D)

They calls that fair city the armpit of the East. 

More'n two hundred bars on just two streets, an' 

fifteen thousand ladies.

They HEAR the whaleboat motor start up as the boat is lowered to the water.

CODY

How long's the ship going to be here?

IRISH SEAMAN

We're takin' on lumber an' headin' for Pusan.

Course, as fast as Ridgeway's movin', we might see 

Seoul this time. Use to pull me some good liberties in 

Seoul. Knew me the prettiest little China girl, there.

(LOOKS BACK AT CODY)

Your boat's 'bout ready. If we should meet in town, 

the first drink's on me.

They shake hands and he spits over the side then rambles off. Cody looks over the side and sees one of the boat crew securing it to the ship's ladder.  A loud speaker CRACKLES and HISSES, then a VOICE announces:

AMPLIFIED VOICE

All passengers, the launch will be leaving for

 ship's landing in five minutes.

Cody tosses his Duffle bag over his shoulder and heads down the ladder. He tosses the bag to a sailor, steps aboard the whaleboat, retrieves the bag and heads for the back of the boat, where he sits and watches the other passengers come down the ladder.

First down is KEMP SAWAYA, a man almost as big as Cody. Deeply tanned, he wears his prematurely gray hair close cropped. Behind him is STERLING GILES, a little man who looks like he belongs in a bank teller's cage. Last to come down is a huge black man, ANDREW, powerfully built, with shaven head. As he lands in the boat, a seaman tosses the line away and the coxswain pushes the throttle forward. The boat pulls away from the ship.

EXT. PIER - DAY

The boat unloads its passengers as a dusty, gray Navy bus waits.

INT. BUS - DAY

As he climbs aboard, Cody notices several Filipino pygmies squatting at the end of the pier. They have spread out a large bamboo mat and are displaying miniature bows and arrows, bolo knives and blowguns for sale.

The young American sailor driving the bus swings into his seat and flips a series of switches. He notices Cody's interest in the pygmies.

BUS DRIVER

They're negritos. They're the only Flips allowed 

on the base.

He closes the doors and jams his way through the gears. The old bus kicks up a cloud of red dust that settles over the pygmies as it pulls away from the pier.

Cody gazes out the dirty windows as the bus maneuvers across the base. He sees flashes of that night when he and Rezalas scurried across the base when it belonged to the Japanese.

BUS DRIVER'S VOICE

End of the line, gents.

The Driver yanks open the door and the passengers file out.

EXT. NAVY BASE MAIN GATE - DAY

They pass through the gate that's guarded by American Marines, who seem impervious to the smothering heat and humidity. Cody and the others pass through the gate and into the bustling town of Olongapo.

As he crosses a small, concrete bridge that spans a sluggish river, Cody looks at the ramshackle houses built up on stilts that line one side of the foul river. It's the very same river he and Rezalas swam across earlier. He HEARS children calling out:

CHILDREN

Coins! Throw Coins!

Several canoes with young girls float in the center of the river near the bridge. They hold out wire baskets and beg for the sailors to throw coins. In the water, their brothers swim and call out to the servicemen.

A young sailor tosses a coin and three boys dive for it. One youth gets it and tosses it into a girl's basket. Another sailor tosses a coin. The boys recognize the Filipino ten centavo for what it is and let if fall into the water. None dive for it. One swimmer flips a finger at the sailor.

COIN DIVER #1

You cheapskate number one!

COIN DIVER #2

I know you. I tell girlfriend you butterfly.

She give you "Pilipino" haircut.

He draws a finger across his throat. The sailor laughs uncomfortably. He throws a quarter. The boys grin triumphantly then dive for the coin.

EXT. OLONGAPO - DAY

The town is alive with shoeshine boys, pimps and girls of every shape and shade. Gaudy, multicolored expatriated Jeeps rumble up and down the dusty streets. The drivers dart their vehicles in and out of traffic, all the while leaning on their horns.

As Cody moves down the street, sailors and marines drift from one bar to another. Vendors sell roasted meat and young transvestites, Bennieboys, compete with the female prostitutes.

Cody stops at a money exchange and scoops up a pile of pesos as he continues down the street. Suddenly, he is surrounded by a playful band of children. They laugh and scream as they chase one another around him in a supposed game of tag. As they run off two of the boys bump into Cody, then join their playmates running down the street.

Cody watches curiously as the children run by Sawaya, who is walking toward him. Sawaya seems amused as the children run by him. Then he reaches out and GRABS one of the boys by his wrists. Sawaya picks the SCREAMING boy up and throws him over his shoulder as he moves toward Cody.

Bystanders watch, but no one attempts to help the boy. The other children watch for a moment, but when they spot an approaching policeman, they run off. All, except one boy, that is. He watches for a moment longer. But when he sees there's nothing he can do, he runs away.

Across the street from Cody, a tough looking Filipino man watches as Sawaya walks up to Cody.  He pushes a big straw hat back on his head and walks slowly, never taking his eyes off the two Americans.

Sawaya comes up to Cody and puts the still protesting boy down.

SAWAYA

You better check your pockets.

Cody checks his wallet. Then he discovers his front shirt pocket, where he had stuffed the pesos, has been neatly cut away. The money is gone. He looks down at the boy.

SAWAYA (CONT'D)

Give the man his money.

The boy, CARLOS, about 12, squirms and tries to pull away. Sawaya holds on to his neck.

CARLOS

I no have his damn money!

Sawaya notices the Filipino policeman approaching. He turns Carlos slight so, he too, sees the man.

SAWAYA

Give the man his money, or I'll give you to that man.

Carlos' eyes widen in fear. He hesitates, then holds out his hand, revealing the crumpled bills. Cody scoops them up and slides them into his pant pocket just as the policeman comes up to them. He looks at Carlos and taps a wooden club in the palm of his hand.

POLICEMAN

This one, he give you trouble.

CODY

No, officer. No trouble at all. We were 

just asking him to take us to the Shamrock.

POLICEMAN

(skeptical)

I see.

(points down street)

Shamrock that way, on the right.

(eyes Carlos)

Next time, you maybe get directions from 

someone more better than street thief.

(touches Carlos with club)

I see you again, soon maybe.

He touches the brim of his hat with the club to the men then walks away.

CARLOS

Why you do that? I take money. Why you say I don't?

CODY

Never mind. Do you know where the Shamrock is?

Sawaya releases the boy, who immediately regains his cocky street behavior.

CARLOS

I know all Olongapo. You want number one boy, I him.

Cody looks at Carlos and gives a rare smile.

CODY

All right, number one. Lead the way.

CARLOS

How much you pay?

Cody and Sawaya look at one another in amusement at the boy's brashness. Then Cody takes out his money and peals off a ten peso bill.

CODY

Think that'll do?

Carlos eyes the bill hungrily.

SAWAYA

He'd kill his best friend for that much.

Cody doesn't like the comment. Carlos doesn't pay any attention to it. The boy looks around to see if anyone has seen the money and hurriedly stuffs it in his pocket.

CARLOS

Come, I take you.

SAWAYA

I think you already have.

CARLOS

Huh?

CODY

Just lead the way.  Number one, what's your name?

CARLOS

Carlos.

CODY

You got a last name, Carlos?

CARLOS

Just Carlos.

With that, he turns and heads down the street.

CODY

(to Sawaya)

Join me for a beer?

SAWAYA

(checks watch)

Some other time, perhaps. I've got to meet 

someone on the other side of town.

CODY

It's a small town. Maybe we'll run into each other.

SAWAYA

I'm sure we will.

They nod "good-byes" and Sawaya jumps into a passing Jeepney. Down the street, Carlos turns to look back.

CARLOS

Hey, you come?

EXT. SHAMROCK CLUB - DAY

Carlos stops in front of an open doorway. Stairs lead up to the Shamrock Club on the second floor. Blaring 50's music cascades down to the street.

CARLOS

This Shamrock.

Carlos starts up the stairs. Cody grabs him and sets him on the sidewalk.

CARLOS (CONT'D)

Hey! What you do!

CODY

You wait here.

CARLOS

Why? Number one stay with boss.

CODY

Well, number one, the boss says you stay put. 

You're too young to be going in a place like this.

CARLOS

I born in place like this!

CODY

I don't care. You stay here.

CARLOS

I no want to be your number one!

As he says this, Carlos spots the Filipino with the straw hat watching them. Carlos runs off down the street. Cody watches him for a moment.

CODY

Well, there goes ten pesos.

He turns and heads up the stairs.

INT. SHAMROCK - DAY

It's a dark hole of a place and it takes Cody's eyes a moment to adjust. It is early morning and there are already three sailors in the club. Two are with girls picking out songs on the jukebox. The third sits at a long bar talking with the barmaid. Over in a dark corner, the rest of the girls chatter and laugh in Tagalog as they eat their breakfast of rice and vegetables and put on makeup. One comes out of a back room brushing her teeth, while another folds up a mattress. The barmaid hands the sailor another beer, then comes down to the end of the bar as Cody sits down.

BARMAID

You want beer?

CODY

San Meguel.

She takes a frosty bottle of beer and pours it into a glass for him.

CODY (CONT'D)

Where's Shannon?

She looks up as she wipes off the bar with a rag.

BARMAID

He not here. You friend?

CODY

You might say that.

Cody downs the beer in one steady gulp, then slams the empty glass on the bar, startling the girl. He leans close to her.

CODY (CONT'D)

Where is he?

She backs away until she bumps into the liquor bottles. She looks to the sailor for a sign of support. He doesn't want to get involved. Cody straightens up and eases up a bit.

CODY.

Is Maria here?

She looks involuntarily toward a curtained doorway at the back of the club. She knows Cody noticed the look.

BARMAID

(calls out)

Maria, a man want to see Mr. Shannon.

She looks back at Cody nervously, then toward the curtain as it parts and Maria steps out. At first, she does not recognize Cody as she walks toward him.

MARIA

Yes, can I help you...

Cody turns at the sound of her voice. His breath catches at her beauty. As she comes closer, she finally recognizes him. Her hands go up to her mouth.

MARIA (CONT'D)

Steve!

Maria rushes into his arms. He holds her for a long moment and caresses her long black hair. When she backs away from him, she takes his hands in hers. Tears streak her face as she looks up at him.

MARIA (CONT'D)

Oh, my.

CODY

It's been a long time.

MARIA

Too long. Brian's been looking forward to you coming?

CODY

And you?

She shakes her head, fighting the tears.

MARIA

Yes, me too.

(long beat)

You're early. We weren't expecting you for 

another week. Brian's out of town.

CODY

I caught an earlier ship leaving Singapore.

(beat)

It'll give me a chance to look around town.

MARIA

It's changed. When Brian gets back we 

can drive  up and see the old place.

CODY

That'd be good. Can I buy you a drink.

MARIA

No. I'll buy you one.

Arm in arm, they go over to a table. Maria has the barmaid bring over a special bottle of wine. They are just taking a drink when two rough looking Filipino men come up the stairs. Maria tenses. Cody touches her arm and she jumps slightly. She attempts a smile. It's forced. Cody watches the men as they walk over to the bar.

CODY

What's the matter?

Maria takes a healthy slug from her drink, then gets up.

MARIA

Nothing. Excuse me. I have to take care of some 

business. Have another drink. I'll be right back.

Maria walks over to the bar. Because of the blaring jukebox, Cody can't hear what's being said between Maria and the two men. He notices the girls in the back of the club have grown still and are watching intently. Only the two sailors at the jukebox seem unaware of what is going on.

Maria reaches across the bar, opens the cash register and hands one of the men some money. He takes it without counting and puts it into his pocket. Then he reaches out and grabs Maria's wrist. He's bending it back when Cody steps up behind him.

CODY'S VOICE

Let her go.

Even the sailors cut their chatter at the sound of Cody's cold tone. The two Filipinos, however, are not easily impressed. The man holding Maria glares at Cody.

HUK #1

Mind your own business.

CODY

She's a friend. That makes it my business.

The other man steps aside and with a flip of the wrist a long-handled butterfly knife unfurls in his hand.  He lunges at Cody, who catches his outstretched arm with his right hand and, in one swift motion, twists it behind the man's back. Cody puts a knee in the man's back, pulls the arm up, then out. The arm SNAPS and the man SCREAMS in agony.

The other man pulls Maria closer to him.

HUK #1

You make big mistake. This no business of yours.

At the end of the bar, the sailor sees the Filipino reach behind his back and pull out a gun.

SAILOR AT BAR

Watch it, he's got a gun!

As the Filipino brings the gun up, Cody kicks out. His foot neatly misses Maria's head as it catches the man in the throat. The gun slides across the floor and the man sinks to his knees, clutching his crushed throat. He gasps for air as Cody calmly brings up a knee in his face. The man reels back and crashes up against the bar. Cody turns to the other man, who is just regaining his feet. His dislocated arm hangs limp at his side.

CODY

Take your friend and get out while you can.

With one arm, the man struggles to help his friend up. Except for the sound of the one man trying to breathe through his cracked windpipe, the bar is quiet as a tomb.

MARIA

I wish you hadn't done that.

CODY

It was a shakedown!

Maria goes back to the table, away from prying ears.

MARIA

(hushed)

Steve, I'm grateful. Really. But if it isn't the Huks, 

then it's the police or someone else. It's the way. 

They'll be back. You know that.

CODY

Not those two.

MARIA

They are Huks. Many support them.

(glances at girls in back)

Some of my own girls...

CODY

I thought the Huks were for the people?

Why are they bothering you?

MARIA

We can't talk here.

She takes a pen and paper from the smock she's wearing and scribbles an address, then hands it to him.

MARIA (CONT'D)

Go out the back. Please, go quickly.

CARLOS' VOICE

Police, they come!

Carlos tops the stairs on the run and slides to a stop in front of Cody.

CARLOS

We go! Police, they come!

Carlos runs over to the curtains.

MARIA

Please, Steve. Go.

CARLOS

Men you beat up pay police. They come for you, now!

INT. STAIRWAY - DAY

Carlos leads Cody down the back stairs.

EXT. STREET - DAY

They run out of the building and hop aboard moving Jeepney. Cody hands the driver the note. The Jeepney squeals to a stop. The Driver turns around to Cody.

JEEPNEY DRIVER

You pay five pesos, okay?

(holds out hand)

Big trouble to take you out of bounds. You pay first. Five pesos!

Carlos jumps between Cody and the Driver.

CARLOS

No! You bandit! Pay him one peso. No more.

Cody looks back at the still empty back door, but HEARS heavy boots coming down. He shoves a five peso bill in the Driver's hand. The man is satisfied. He leers at Carlos in triumph, then turns and jams the Jeepney through its gears as they speed away.

INT. JEEPNEY - DAY

MOVING SHOT as the vehicle lurches in and out of heavy traffic. Behind them, four gray-clad policemen, carrying semi-automatic weapons, run out of the Shamrock's back door. Carlos is sullen.

CARLOS

You number one fish. You pay his price.

CODY

We didn't exactly have a lot of time to sit around and 

argue about it.

Carlos ignores the explanation as he folds his arms across his chest and sulks. The Driver turns and looks at Carlos. He laughs at the boy then turns back to his driving.

EXT. STREET - DAY

The Jeepney darts through traffic and the Driver leans on the horn. Another turn and the atmosphere changes instantly. There are no neon signs, no bars, girls, pimps or sailors. They are replaced by ramshackle houses, built of scrap lumber and corrugated metal. Children play in dingy doorways and old men squat alongside the homes, smoking long pipes. Women stand about. One holds a baby on her hip; another washes clothes in a concrete table; others carry fruit and fish.

It is a GRAY, SMOKE-FILLED WORLD.

And STRANGELY QUIET.

They are in the OUT OF BOUNDS area of Olongapo.

The Jeepney slides to a stop. Cody and Carlos get out and it speeds away in a cloud of exhaust and dust. The few people who are out seem to melt into the surroundings. Cody and Carlos stand in front of a two-story building. Cody studies the note and looks up the stairs that run alongside the building to the second floor. A small store is on the ground floor.

Cody studies the building carefully and looks up and down the street. There's a slight movement at one of the upstairs windows. Cody sees it.

CODY

Think I'll get a beer.

CARLOS

Me, too.

CODY

No beer for you.

INT. STORE - DAY

Disgruntled, Carlos follows Cody into the dank little store. An ageless man watches them from behind the counter. An elderly couple changes their minds about staying and leave. They eye Carlos with suspicion. He glares back insolently.

Cody goes over to an old Coca Cola machine, opens the top and takes out a San Meguel and an orange soda, then goes to the counter and pays for the drinks. He hands the soda to Carlos.

CODY

Carlos, you go out and watch for anyone 

who doesn't belong here.

CARLOS

I no understand.

CODY

Strangers.

Carlos shrugs and takes a sip from the soda. The old man behind the counter stiffens slightly but does nothing as Cody heads for the back of the store. Cody sets his Duffel bag down, opens it, and takes out a sawed-off shotgun. The old man ducks down behind the counter as Cody parts a curtain and disappears.

INT. APARTMENT - DAY

The apartment is dark except for a single beam of light that cuts through a large room. A dark figure pulls the window curtains apart slightly and looks down to the street. He has a gun in his right hand.

Another figure comes up behind the first. The second figure moves like a cat. The first figure peers out the window as the business end of the shotgun nudges the back of his neck. The man raises his right hand with the gun in it.

CODY

Drop it.

The gun falls to the floor. Cody shoves the man to the center of the room as he reaches over and flips on a wall light switch to reveal Shannon, who acts more embarrassed than afraid at having a shotgun aimed at him.  He quickly regains his composure.

SHANNON

Steve!

Cody keeps the shotgun trained on Shannon.

CODY

You were expecting someone else?

SHANNON

Matter fact...

Cody picks up the pistol.

CODY

With this?

SHANNON

(shrugs)

You never know who might pop in these days.

(offers his hand)

God, it's good to see you.

Cody finally relaxes, sets the gun on a table and lowers the shotgun. He takes Shannon's hand in a warm handshake.

CODY

All right, what's going on?  Maria said you were out of town.

SHANNON

(nods to couch)

May I?

Cody nods "yes" and pulls up a chair from the kitchen that he straddles.

SHANNON (CONT'D)

We found the Kure Maru.

CODY

I gathered that much from your wire.

SHANNON

What you don't know is that right after we sent it, 

Sangrini's people got wind...

CODY

Sangrini! I thought someone would have taken care 

of him by now.

SHANNON

Not likely. God knows, there's plenty who'd like to. You 

can't get near him. He's got his own private army and he's more 

Powerful than ever. Hell, he has more money than he could 

spend in a lifetime.

CODY

But not enough to pass up $30 million in gold.

Shannon's expression tells Cody there's more bad news.

CODY (CONT'D)

What else?

SHANNON

Not what, who. There's this guy who goes by the name of 

El Jefe, who wants in on the action. Fact is, he wants it all.

CODY

I've heard about him. Huk leader.

SHANNON

It's Phillip.

CODY

You mean little Phillip Costa?

SHANNON

He's not little anymore. After the war, his father's farm had 

been taken over by the large land-holding companies, 

like most of the small farms. They tried to appeal to the

government. The corporations paid off the officials. Sangrini 

headed one of the biggest. The small farmers joined 

the Huk movement. For a while they put up a good fight, 

but they just about got wiped out last year.Phillip's old man was 

one of the first to get himself killed.

Shannon gets up and goes over to the refrigerator and takes out two beers. He hands one to Cody, then sits back down. With only one arm, he has to hold the beer between his knees while he uses a bottle opener to pop open the bottle.

SHANNON (CONT'D)

Right after that, Phillip took over the band that roams 

around here. Now they need money for weapons, so

 they've turned to the protection racket.

CODY

I saw some of their work at the Shamrock.

SHANNON

What do you mean?

CODY

I was there when a couple of them came in to collect.

SHANNON

(anxious)

Maria?

CODY

She's okay. But if those two are an example of Phillip's control...

CODY

I'll keep that in mind. Now, what about the gold?

Shannon pulls himself up out of the chair and paces.

SHANNON

I've got to make sure Maria is...

CODY

Relax, she's fine. She'll be here any time.

(beat)

I came a long way. Now, I'm no greedier than the next 

guy, but there's no sense in dealing with two opposing teams. 

Is there any chance of working something out with Phillip?

SHANNON

It's political with him. He figures since the gold came from 

the Luzon mines, it rightfully belongs to the people. 

CODY

And he represents the people?

They turn at the sound of the front door opening. Cody raises the shotgun as Maria comes in. She is startled to see the weapon pointed at her, but regains her composure and heads for the kitchen with an armful of groceries.

MARIA

I see you two have gotten reacquainted.

Shannon goes over to her.

SHANNON

Are you okay? Steve said there was...

Maria pats him affectionately on the arm and kisses him on the cheek.

MARIA

Yes,  and Steve took care of them...for now.

(glances at Cody)

How long has it been since you've had lumpia?

CODY

Forever.

MARIA

Then I suppose it's about time I fix you some.

She goes into the kitchen and Shannon shakes his head in wonder.

SHANNON

She still amazes me.

INT. LIVING ROOM - NIGHT

The dinner dishes remain on the table nearby. The three sip beer and Shannon finishes telling a story:

SHANNON

...she kept me alive. She tied me to that raft when

 the storm came up. Afterwards, Maria and Phillip and 

me were the only ones still alive... as far as we knew.

Maria is upset and gets up as she starts to clean the kitchen table. She stops with a handful of dishes and looks at Cody.

MARIA

We drifted for days. There was no sign of...

SHANNON

After a while, we figured we were the only ones who made it.

Maria tries to smile, but can't quite manage it.

MARIA

I'm glad we were wrong.

SHANNON

By the time we were found, I had her feeling 

so sorry for me she had to marry me.

MARIA

Liar. You wouldn't let anyone feel sorry for you.

(to Cody)

I've never known a man who could joke about what he's 

gone through.

SHANNON

(mock brogue)

Now you've gone an' embarrassed me. Go with you, 

now and get me another beer, like a good lass.

Maria brings him a beer. She touches his leg as she passes him. Neither sees a slight shift in Cody's expression. Maria goes back and brings out a plate full of food and heads for the door.

SHANNON (CONT'D)

Where you going with that?

MARIA

The boy, Carlos, he's still out side.

Cody jumps up and takes the food from her.

CODY

I forgot about him out there. I'll take it to him.

A subtle smile shows Maria is surprised, and pleased, at this side of Cody.

EXT. STAIRS - NIGHT

Carlos looks up from the bottom of the stairs when the door opens. Cody carries the food down to him. The boy takes the food without a word and wolfs it down with his fingers.

ACROSS STREET

The Filipino man with the straw hat watches from the shadows.

INT. HOUSE - NIGHT

Cody walks in leading Carlos. As Maria smiles, it's a debate who's more embarrassed, Cody or Carlos.

CODY

Well, he was hungry, and it's getting cold out there.

(nudges Carlos forward)

He said he didn't have any place to sleep.

MARIA

Come.

She goes over and puts an arm around Carlos' frail shoulders and leads him into another room.

CODY

When do we leave?

SHANNON

I have a boat and diving equipment in the village of San Antonio.

(beat)

You do know something about this new aqualung gear?

CODY

I've used it before.

SHANNON

Good.

(holds up beer as Maria enters)

A toast. To the Kure Maru. May she one day rest in peace.

CODY

After we get the gold.

Two bottles CLINK in a salute.

EXT. BUS DEPOT - DAY

The old Victory Liner bus depot is a sea of brown skin, dusty clothes, crying babies, squealing pigs and clucking chickens.  People jostle and elbow as they climb aboard various buses.  Packages and crates of animals are passed up to waiting hands on top of the buses. Cody, Maria and Shannon board one of the buses.

INT. BUS - DAY

Shannon and Maria make their way to an empty seat. Cody scans the crowd outside the bus. In the back of the bus, Carlos hides from them.

EXT. BUS DEPOT - DAY

The old bus pulls away.  A moment later, the Filipino in the straw hat steps out of a doorway. He takes his sun glasses off and cleans them on his shirt tail as he walks over to a black sedan and climbs in next to the driver. As the electric window rises and the car pulls away, he turns and reveals Sangrini in the back seat.

EXT. MOUNTAIN ROAD - DAY

GEARS GRINDING, the bus struggles up a steep grade. The bus is like a huge, rusting ark as it carries its cargo of humans and animals through the mountain pass.

INT. BUS - DAY

Cody seems oblivious to the din as he stares out the window at the dense jungle.

EXT. MOUNTAIN ROAD - DAY

The grade is getting steeper and the bus crawls up the road. A truck approaches from behind. As it begins to pass the bus, the Driver honks the horn.

INT. BUS - DAY

The Bus Driver signals with a wave of his arm out the window for the truck to pass. Cody glances to his left and sees the truck. He also sees Sawaya in the front seat. Sawaya looks up and their eyes meet. There is a coldness in Sawaya's expression as the truck speeds past.

EXT. MOUNTAIN ROAD - DAY

The bus finally reaches the top of the hill, then races down the other side and through a small village, scattering dogs, chickens and villagers.

The bus maneuvers around a twisting curve. As it comes around the curve, three men stand in the middle of the road. All are ARMED.

INT. BUS - DAY

The Driver jams the brake peddle to the floor. Women and children SCREAM in panic as the men SWEAR at the Driver. Cody sees the gunmen through the dirty windshield. He glances back at Shannon and Maria. They look concerned, but not frightened. In the back of the bus, Carlos peeks out from behind a man.

EXT. MOUNTAIN ROAD - DAY

The gunmen stand firm as the bus slides to a stop. One man with a machine gun fires a burst in front of the bus. Screaming and crying can be heard. The gunmen with the machine gun approaches the bus door. The frightened Driver can only stare down at him.

HUK #2

Open the goddamed door, you idiot!

A woman SCREAMS and it's like a rushing river. The cries and screams pick up momentum, working its way back through the bus. The Driver opens the door.

HUK #2 (CONT'D)

Everyone out!

The terrified people pile out of the bus. The three masked gunmen separate Cody, Maria and Shannon from the others. Even though they are wearing masks, there's something familiar about one of them. Cody studies the man when his attention is pulled back to the bus as a gunman screams:

HUK #2 (CONT'D)

Little shit! Do as I say!

Cody is stunned to see Carlos being dragged from the bus by his hair over to the other Filipinos. Carlos struggles with the gunman. The gunman lets him go and slaps him hard across the face. Carlos is not stupid. He quits resisting.

HUK #1

I tell you, you make big mistake.

Cody turns to the man. The RASPY VOICE marks him as the man Cody hit in the throat. The man touches a dark bruise on the side of his neck as he glares.

HUK #1 (CONT'D)

You die today.

Behind them the other two gunmen bark orders in Tagalog at the passengers. Slowly, at first, they move away from the bus, not sure if they're going to be killed or not. When they're far enough from the bus to be sure the gunmen are not going to shoot them, they move quickly around the next bend in the road.

One of the gunmen takes a can of gasoline off the back of the bus and goes inside, where he pours the contents over the seats. He jumps out, tosses the can in a ditch, then strikes a match and flips it in the open door. He pulls down his mask and walks toward the others smiling as the bus begins to burn.

All watch silently as the fire builds and the windows explode. The gunmen laugh as the terrified pigs and chickens scream. Then there's only the ROAR of the fire and EXPLODING objects inside the bus.

One of the gunmen leers at Maria and starts to grab her. Shannon jumps in the way. The gunman swings without hesitation, hitting Shannon in the face, sending him spinning back, where Cody catches him. The other two gunmen trot over to them.

One of the two men suddenly pitches forward, face first into the dirt. The back of his head is a bloody pulp. Cody dives for Shannon and Maria, knocking them to the ground. A second gunman turns toward the trees. He fires his weapon wildly, then runs behind a rock. He rises to shoot at the tree line and Cody steps up behind him. A knife flashes across the man's throat.

The Huk from the bar realizes his two friends are dead. He screams insanely and swings around, pointing his weapon at Shannon and Maria. He is just about to squeeze the trigger when there's a puff of dust in the middle of his back, then a red stain. He drops to his knees and falls forward, dead.

SHANNON

What the hell happened?

CODY

(motions to trees)

Someone, over there.

Cody doesn't act surprised when Sawaya steps out from the trees. He is, however, somewhat surprised to see Giles holding a sniper rifle, as he leads Carlos.

SAWAYA

(cheerful)

Gentlemen, and lady.

(to Cody)

Good to see you again, Cody.

(motions to Giles)

My associate, Sterling Giles.

Giles steps forward, smiles and shakes hands all around.

GILES

Glad to meet you.  Ma'am.

SHANNON

Pretty fair shooting.

GILES

Thanks.

Sawaya reaches back and brings out Carlos.

SAWAYA

I believe you know this young fellow. Says 

he's with you.

Carlos stares at the three bodies, then at Cody.

CODY

I guess we can't throw him back now.

SAWAYA

(refers to bodies)

We better do something with them.

Giles goes over and grabs the shirts of two of the bodies and, with surprising strength, hauls them to the ditch. He comes back for the third.

CODY

Never would have figured the little guy to be in this sort 

of business.

SAWAYA

Old Sterling, there, is one of the best... in the business.

MARIA

Just what business are you in, Mr....

SAWAYA

Oh, I'm sorry.

(offers hand)

Kemp Sawaya. And my friend is Sterling Giles. 

We're here to help you get the gold from the Kure Maru.

SHANNON

Kure Maru?

SAWAYA

Please, Mr. Shannon, let's not play games.

I know all about her and the cargo she carried.  

Hell, everyone in the PI knows about the Kure Maru.

SHANNON

Give me one good reason why we should cut you in?

SAWAYA

(toward bodies)

I kinda figure you owe me.

SHANNON

I've had tougher folks than them try to put me under. 

I ain't dead yet.

SAWAYA

All the same, you're going to need all the help you can 

get when you go up against Sangrini and El Jefe.

SHANNON

We can handle Sangrini. And as for El Jefe...

SAWAYA

Sangrini's got a boat and is about to go after the Karu Maru himself.

CODY

How do you know that?

SAWAYA

It's my business to know these things.

Cody, Shannon and Maria exchange glances.

CODY

Okay.

SAWAYA

Great! That's equal shares, right.

SHANNON

Now wait just a damned minute! No one...

CODY

Equal risk, equal shares.

SHANNON

Sure, why not!  Why don't we just broadcast it all over

 the whole country so's anyone who wants to tag a long 

can just jump aboard.

MARIA

Darling.

SHANNON

What?

MARIA

Shut up. He might be of some use.

SAWAYA

Why think you, Mrs. Shannon. And that I might, since 

you have more trouble than a few scrawny Huks to worry about,

my friend.

SHANNON

We'll see who's friend you are.

SAWAYA

You better make up your mind fast. Sangrini's got 

some hired help himself.

SHANNON

We know. There's not a pro in the bunch.

SAWAYA

(to Cody)

Remember the big black on the ship, Andrew?

You might recall him better from a piece of work he did in 

Sierra Leone.

(TO Maria)

For a few diamonds, he wiped out an entire village of 

400 people.

MARIA

He's with Sangrini?

SAWAYA

You got it, pretty lady.

CODY

Let's get moving.

They hop into the truck and speed away.

EXT. SAN ANTONIO - DAY

The truck eases through the fishing village toward a long wooden pier. Something is wrong. The villagers are out and about, but they are distant and fearful. Even the children keep away.

EXT. PIER - DAY

The truck pulls up onto the pier. A large boathouse sits to one side. At the end of the pier is the ESMERALDA, Shannon's boat.

EXT. ESMERALDA - DAY

The boat is a curious mutant, having been built from spare parts of many boats after the war. Someone had begun to paint it, but had botched the job. Shannon notices Cody's look of dismay.

SHANNON

Don't let her looks fool you. She may not be pretty, 

but she's got heart. She'll take us anywhere we want to go.

CODY

Will she bring us back?

SHANNON

Give the old girl a chance. I've had the engines worked on,

and she's tight as a drum. She'll do herself proud.

SAWAYA

Looks like something I once threw up.

CARLOS

I think she is very beautiful. She looks like my friend's 

Jeepney. Only bigger.

Shannon looks over the boat for someone.

SHANNON

Now where's that old fart? I told him to have her 

fired up and ready to go.

CODY

Who?

Shannon walks up gangplank.

SHANNON

Edwardo. He's probably tanked again.

The others come aboard. Maria and Giles sit at a small table in the middle of the afterdeck. Sawaya leans against a lifeline and Cody ventures down into the cabin. Carlos follows Cody.

SHANNON (CONT'D)

I knew I shouldn't have paid him all at once. Hell, he

probably drank himself to death.

He slides a hatch cover to the engine room back and looks down inside.

SHANNON (CONT'D)

I tell you, when I find that old man, I'm gonna kill...

Shannon stares down into the engine room.  His POV: The crumpled body of an old man. His hands are tied and his head is a mass of purple and yellow mush.

Shannon stumbles away from the hatch. Sawaya goes over and looks down for a moment, then turns abruptly and jumps for his Duffle bag. Reading his reaction, Giles starts to reach inside his jacket for his weapon.

EXT. WHEELHOUSE - DAY

The door opens and Sangrini steps out. Andrew is beside him holding a BAR machine gun.

SANGRINI

I wouldn't, if I were you.

Weapons are COCKED. Shannon and the others turn to see Sangrini's men lined along the pier. Their weapons are trained on those in the boat. In the front ranks is the Filipino who has been following Cody all along.

SHANNON

You bastard! You didn't have to kill the old man!

Shannon starts to move toward the ladder leading up to the wheelhouse. Andrew lowers his weapon and points it at Shannon.

SANGRINI

I didn't kill anyone.

SHANNON

No, but your hired thug probably did.

INT. CABIN - DAY

Cody and Carlos HEAR the exchange above. Cody peeks out the door and sees his Duffel bag leaning against a wench. It is too far away. He searches the cabin for a weapon.

EXT. WHEELHOUSE - DAY

SANGRINI

Sergeant Cody, if you'd please join us on deck.

INT. CABIN - DAY

Cody looks up the ladder, then to Carlos and puts a finger to his lips. He points to a small hatch. Carlos nods that he understands.

SANGRINI

We're waiting, sergeant. I would hate to have to 

put a bullet in one of your friends.

EXT. DECK - DAY

Cody emerges from the cabin, hands over head. Sangrini signals for some of his men to come aboard.  As they do they search Cody and the others for weapons.

ANDREW

The woman, too.

One of the men starts for her. Shannon is about to step in the way, when Cody does. The gunman stops and looks up at Sangrini.

CODY

This isn't necessary.

SANGRINI

You're quite right.

(to the man)

But do it, anyway.

The man leers as he feels Maria up and down.  After one time he knows there's no weapon, but he gets a good feel all the same.  Shannon can barely hold his temper. Maria looks into his eyes, signaling for him not to try anything.

Andrew comes down the ladder, landing in front of Cody. He reaches out and grabs Maria, pulling her to him. His arm around her neck, he glares at Cody, who starts for him, but is stopped when the other men snap their weapons to their shoulders. Andrew grins at Cody and holds a gleaming combat knife to Maria's throat. He motions for Cody to come for him with a flick of the knife.

SANGRINI (CONT'D)

That's enough, Andrew. You can let Mrs. Shannon go, now.

Andrew slowly withdraws the knife and replaces it under his coat. He smiles at Cody.

ANDREW

(French accent)

You come to me one day. I cut you good.

SANGRINI

There's really no sense in us fighting one another. 

We can be of use to one another.

SHANNON

Where have I heard that before!

SANGRINI

You have the men and expertise on 

the aqualung equipment.

SHANNON

And we know where the Kure Maru is.

SANGRINI

That too.

CODY

Then why do we need you?

SANGRINI

I have men who can dive. And I can offer my protection.

SHANNON

From who? You?

SANGRINI

From me?  I would call it cooperation. No,

I am offering you protection from El Jefe.

MARIA

We have nothing to fear from him.

SANGRINI

I don't think he will take it too kindly that you killed three of

his men. You have as much to fear from him as you do me.

We both want the gold. We're both more than willing to do 

anything to get it,

(BEAT)

Only I am... realistic. I am willing to share.

SHANNON

What if we refuse?

SANGRINI

You're not in a position to refuse me anything. Cooperate, or 

my men will begin some very unpleasant work on your 

companions... beginning with the little woman.

SHANNON

You bloody coward. Give me a chance and...

SANGRINI

Enough! Will you cooperate or not?

CODY

We will.

SANGRINI

(points to Shannon)

I want him to say it.

SHANNON

(long beat)

Yes.

SANGRINI

(jubilant)

Very good.

Sangrini comes down the ladder, takes Maria by the arm and leads her off the boat. His men escort the others. They follow Sangrini to the boathouse.

INT. BOATHOUSE - DAY

Sangrini leads them around a wooden walkway that encircles a magnificent yacht.

SANGRINI

I named her Vesuvius. Like her namesake, her real power 

is beneath the surface. You will stay here tonight. I have business 

in town. When I return, we will leave.

Sangrini turns to the Filipino with the straw hat, RAMON SANTOS.

SANGRINI (CONT'D)

Put them inside.

SANTOS

Yes, Colonel.

Sangrini bows slightly to Maria, then leaves. Santos escorts them aboard the Vesuvius.

INT. VESUVIUS - DAY

They go down a steep ladder and through a narrow passageway, through a large dining room, then into a small room. Santos locks the door behind them.

INT. STATEROOM - DAY

Cody peers out a small porthole. He can't see the guards, but he can HEAR one. Cody leans away from the porthole and studies the tired faces in the room.

EXT. ESMERALDA - NIGHT

Carlos slips over the side into the water and swims around the pier to the boathouse. A few feet from the boathouse he hears a THUD up on the pier. Just as a guard comes to the edge of the pier, Carlos takes a deep breath and slips beneath the surface.

A few moments later, he surfaces near a piling. He swims silently to the boathouse. He hears two men talking above him on the pier. He takes another breath and goes under the boathouse.

INT. BOATHOUSE - NIGHT

Carlos surfaces beside the Vesuvius. He almost chokes when he sees that he has come up next to a man's legs on the walkway. Carlos pushes back under a little too quickly, causing a slight SPLASH.

Santos turns at the SOUND. He studies the ripples in the water, then shrugs it off and goes back to stoking a fire in a 50-gallon oil drum. He breathes in the aroma of a pot of bubbling rice and vegetables.

SANTOS

Is it ready?

The cook smiles, picks up a wooden bowl and fills it, then hands it to Santos. Carlos surfaces on the other side of the boat. He freezes when he HEARS someone above.

GUARD #1

Hey, how about some chow?

The guard walks around the bow over to the gangway.

GUARD #1 (CONT'D)

I'm hungry, too.

COOK

Come and get some, then.

GUARD #1

(looks around)

What the hell. I haven't had anything to eat, all day.

He walks down the gangway and accepts a bowl. Carlos slips aboard the boat and crawls on all fours along the cabin. He checks each porthole until he comes to the one where he sees Cody and the others.

INT. STATEROOM - NIGHT

Cody hears TAPPING. He turns to see Carlos' grinning face through the porthole. Cody jumps up and opens the small window.

CODY

(whispers)

What are you doing here?

CARLOS

(grin disappears)

I help you.

CODY

No! I told you to go for help.

CARLOS

(defiant)

I help.

Before Cody can reply, Carlos disappears.

INT. BOATHOUSE - NIGHT

Carlos creeps back and peeks around the edge of the cabin. The three guards are eating and talking. Carlos rounds the corner and starts down into the cabin. He panics when his wet feet slip on the stairs and he falls forward. He flails out and grabs a brass hand-hold attached to the ceiling above the stairs. As he hangs, he listens. The guards laugh. Carlos looks down. He is only a few feet from the deck. He drops and runs down the passage-way to the door of the room where Cody and the others are held prisoners.

CARLOS

Steve?

CODY'S VOICE

Carlos?  Open the door.

CARLOS

(studies the padlocked door)

There's a big lock.

INT. STATEROOM - NIGHT

CODY

(whispers through door)

Look around for a key.

INT. CABIN - NIGHT

Carlos searches through book shelves near the door. Nothing. He passes a display case full of crystal. He checks a gun cabinet. Locked. He checks the bar. Still no key. He goes back to the door.

CARLOS

I find no key.

CODY'S VOICE

Try to find something to take off the hinges.

A screw driver or something.

Carlos goes over to the galley.

INT. STATEROOM - NIGHT

Sawaya looks out the porthole. He stiffens as the guard turns as if to come back aboard the boat.

GUARD #1'S VOICE

I better get back.

COOK'S VOICE

They're not going anywhere.

As Sawaya watches, Santos takes out a bottle, gulps down a healthy swallow and holds it out to the guard, who laughs nervously then takes the bottle.

INT. CABIN - NIGHT

Carlos searches the drawers in the galley. He discovers several knives, but no screw driver.

INT. BOATHOUSE - NIGHT

The cook hands the bottle over to Santos, who takes another quick drink. The guard is getting edgy. He glances toward the small room at the back of the boathouse.

GUARD #1

If the black one wakes up, he'll skin me.

COOK

That one sleeps like the dead. Stop worrying.

INT. CABIN - NIGHT

Carlos closes the last drawer. He looks around and finally spots a small latch at the bottom of the wall. He pulls on it and a door swings up. Inside he finds cleaning gear and a large tool box.

INT. BOATHOUSE - NIGHT

The guard has had enough. He hands the bottle back to Santos.

GUARD #1

I got to get back.

INT. CABIN - NIGHT

Carlos catches the last screw from the top hinge. He steps down from a chair. He stops when he hears the guard coming back aboard the boat. He turns back to the door and attacks the remaining screws in the bottom hinge.

EXT. BOAT - NIGHT

The guard takes out a pack of cigarettes and lighter. When he strikes the lighter he sees the trail of wet footprints going down into the boat. He clicks the lighter shut and tosses the cigarette over the side as he unslings his weapon and inches toward the door leading down into the cabin.

INT. CABIN - NIGHT

Carlos hears a board CREAK somewhere up the passageway. The screw driver slips and gouges his left hand. He ignores the wound and works at the hinge.

The guard eases down the ladder and makes his way through the passageway. Carlos steals a glance over his shoulder and can see a white sneaker step up to the door. He turns back to the hinge.

GUARD #1

Hold it right there.

Carlos freezes.

GUARD #1 (CONT'D)

Turn around.

Carlos turns slowly and finds himself looking down the barrel of a machine gun. The guard motions for Carlos to move away from the door.

GUARD #1 (CONT'D)

Over there.

Carlos moves sideways from the door, forcing the guard to turn his back to it.

GUARD #1 (CONT'D)

How'd you get in here?

Carlos continues to move sideways.

GUARD #1 (CONT'D)

Stop! I asked you a ques...

The guard realizes what the boy was up to. He turns and sees the screw driver. Just as he notices the bottom hinge hanging from one screw, the door explodes down on him.

INT. BOATHOUSE - NIGHT

Santos hears a CRASH from inside the boat.

SANTOS

Freddie, you all right?

COOK

What's wrong?

SANTOS

I heard a noise.

COOK

What kind of noise?

SANTOS

A noise! You better go check it out.

COOK

Why don't you check. I'll stay here and watch.

Santos rests his weapon on the window sill, aimed at the Cook.

COOK (CONT'D)

No problem. I'll check it out.

The Cook picks up his weapon and strolls to the gangway. He is nervous as he gets aboard the boat and edges over to the door leading down into the cabin.

INT. PASSAGEWAY - NIGHT

The Cook eases down the ladder and stays close to the bulkhead as he moves down the passageway. He makes it to the door. He slowly pushes the door latch down, then throws the door open and is just bringing his weapon up when he is hit by a blast from a machine gun. The Cook's body is thrown down the passageway.

Cody runs to the body, takes the weapon and tosses it to Sawaya. He runs for the ladder. Sawaya goes over to the gun cabinet and smashes the glass door.

EXT. BOAT - NIGHT

Cody tops the ladder and comes out on deck just as Andrew runs out the room at the back of the boathouse. Andrew's puzzled expression disappears when Cody pops up with a shotgun. Andrew dives for a stack of crates just as Cody fires. The top crate turns to sawdust. Cody pumps another shell into the chamber as other men emerge from the back room, firing as they come. Cody ducks and sparks fly as bullets ricochet off Vesuvius' steel hull.

The last man out the door doubles over, then flies back when he's hit by another round. Cody hears a REBEL YELL from inside the boat. Cody jumps up and fires at another fleeing man. The shot misses him and tears out a chunk of the door frame just as the man leaps through the door.

The boathouse is a beehive as bullets whine through the air from all directions. Sawaya and Giles make their way outside and around the superstructure as Cody pumps shell after shell into the crates and out windows. Andrew sits behind his cover, which is being whittled away.  He shouts:

ANDREW

Santos! Cover me!

SANTOS

Go!

Santos leans in the window and rakes the Vesuvius as Andrew jumps for the door. Sawaya squeezes off a long burst at Andrew as he races for the door in a zigzag pattern. Bullets rip up the wall and floor behind him. Sawaya is just about to catch up with Andrew when the Thompson submachine gun is ripped from his hands. He jumps behind the protective armor and sees the shattered gun on the deck.

EXT. BOATHOUSE - NIGHT

Sangrini's men pour fire through the wooden walls.

INT. BOATHOUSE - NIGHT

Cody and the others fire right back through the walls. The door to the back room opens and the man who was hit earlier stumbles out with a a .45 pistol clinched in his hand. He tries to make it to the side door. Cody fires and the slug catches the man in the leg. He spins and flattens up against the wall where he is cut down by fire from his own friends.  he falls against the steel drum, knocking it over, sending smoldering embers over the walkway.

The dry wood bursts into flame and the fire races up the walls then across the ceiling. In seconds the Vesuvius and all aboard her are engulfed in a furnace. Cody shields his face against the heat. He spots Sawaya moving around toward the wheelhouse.

CODY

Can you get this thing going!

They duck inside as the windows begin to explode. Burning debris rains down on the boat. Sawaya pushes a button and the engine roars. He jams the throttle in reverse. The boat lurches back and suddenly stops. Sawaya looks out a shattered window and sees the boat is tied to the walkway. He shouts over the roar of the fire:

SAWAYA

The lines! Got to untie the lines!

Cody and Giles jump to the walkway. Cody runs forward; Giles runs to the stern. Giles is driven away from the lines by the heat. He picks up the .45 pistol on the walkway and fires at the line. The rope gives way.

Sawaya squints through the shimmering heat and spots Cody struggling with the rope. He pushes the throttle forward slightly, putting slack in the line. Cody tosses it in the water. Sawaya pulls the throttle back just as the roof of the boathouse starts to cave in.

The boat's sudden move catches Cody by surprise. He leaps for the boat but misses and plunges into the water. He surfaces and grabs the rope. The Vesuvius crashes through the flaming door in a shower of sparks and splinters, pulling Cody with it.

EXT. PIER - NIGHT

The gunmen leap for cover as Shannon and the others spray the pier. Andrew fires at Giles and smiles as the distant figure clutches his side and topples into the water. Too late, he sees another man swim around to the other side of the boat, out of the line of fire.

EXT. BOAT - NIGHT

Cody sees Giles come up once then go below the surface. He kicks hard and dives. A few moments later, he comes up towing Giles by the hair. Cody swims for the boat, where Carlos and Maria lower a ladder and help them aboard.

SAWAYA

Glad you could make it.

CODY

Me too.

INT. WHEELHOUSE - NIGHT

Cody joins Sawaya and Shannon. They are out of range, but Andrew and his men continue to fire at them. The bullets fall harmlessly into the water several yards from the boat.

SHANNON

I need a drink. Why don't we see what kind bar Sangrini keeps.

CODY

Sounds like a plan.

(to Sawaya)

What'll you have?

Sawaya studies the water in front of the boat as he steers her toward open sea.

SAWAYA

Scotch. Neat.

CODY

Sure thing.

EXT. WHEELHOUSE - NIGHT

As they head for the lower compartments, Shannon tells Cody:

SHANNON

I gave him the first set of bearings. He seems to

know a bit about navigation. Lucky for us, since Edwardo was 

going to skipper the Esmeralda.

CODY

Not so lucky for Edwardo.

EXT. PIER - NIGHT

Sangrini's black sedan pulls onto the pier. He gets out and surveys the scene. Remarkably, he doesn't go into a rant, which seems to frighten his men more than if he had. He just walks towards the end of the pier and the Esmeralda.

SANGRINI

(terse)

Get the men aboard.

INT. ESMERALDA ENGINE ROOM - NIGHT

As one of Sangrini's men primes the ancient engine, two others drag Edwardo's body out. The man pushes the starter button.  The engine wheezes, groans and belches to life. There's an explosion of thick, oily smoke. The man tinkers with the engine and it smoothes out. He grins at Sangrini.

INT. ESMERALDA WHEELHOUSE - NIGHT

Sangrini scans the bay with binoculars. Andrew watches beside him.

EXT. PIER - NIGHT

The Esmeralda pulls away from the pier, leaving a trail of gray smoke and a thin coat of oil on the water.

EXT. VESUVIUS - DAY

The rising sun paints the Vesuvius in a warm glow.

INT. VESUVIUS WHEELHOUSE - DAY

Cody relieves Sawaya at the wheel.

ANGLE ON CHART on table, particularly Sulu Sea region.

Cody holds a large handleless mug of steaming coffee. He sips as he stares across the water. Maria is seated by a window. It is a quiet moment as all watch the rising sun.

Cody and Maria exchange a glance. A WARMTH passes between them.

The boat SHUDDERS. There's a HIGH PITCHED GRINDING SOUND. Then the boat begins to SHAKE VIOLENTLY. Cody shuts off the engine and the NOISE and VIBRATIONS stop instantly. Sawaya comes running through the open door.

SAWAYA

Felt like it came from below.

Shannon enters the wheelhouse.

SHANNON

What is it?

CODY

It isn't good.

EXT. VESUVIUS - DAY

Cody pushes past the others and slides down the ladder to the main deck. The others follow. Cody looks over the side, then turns to Sawaya.

CODY

Get the gear. We'll have to go down for a look.

UNDERWATER - DAY

Plankton-filled beams of light streak down through the water and disappear in the depths. Cody and Sawaya swim under the hull and immediately see the problem: a broken piece of timber from the boathouse is lodged between the hull and the prop. A blade is embedded into the wood. They try to pull it free. No good. Cody signals for them to surface.

On the surface, they pull their face masks up as the others lean over the side to talk to them.

CODY

There's a piece of wood wedged into the prop. 

We need something to pry it loose.

GILES

I've got something.

Giles sprints down into the boat and is back in a moment with a five foot length of pipe.

GILES (CONT'D)

Here.

CODY

This won't take too long.

Cody and Sawaya slip their masks on and dive under the boat.

INT. WHEELHOUSE - DAY

Carlos watches the sea with binoculars. There's a movement in the water. It doesn't seem to register with him at first. Then he sits up when he sees it again. A large dorsal fin cuts through the water. Carlos runs out the door shouting and pointing frantically:

CARLOS

Shark! Shark! Over there!

EXT. MAIN DECK - DAY

Shannon, Maria and Giles look where Carlos is pointing. Giles acts immediately. He starts to put on diving gear. His wound makes it difficult.

GILES

Help me.

MARIA

You're in no condition to go down.

GILES

Dammit, woman, help me or get out of the way!

His outburst catches everyone by surprise. Maria helps him into the gear. He grabs a speargun and drops into the water.

UNDERWATER - DAY

Cody and Sawaya are surprised to see Giles, especially with the speargun. Giles points out toward the beams of light. At first, they don't see anything. Then a dark form circles one of the beams of light. It is GIGANTIC. They watch, mesmerized, as the huge creature circles the light, opens its huge mouth and pierces the light, sucking in thousands of pounds of tiny sea life. It is a whale shark.

EXT. MAIN DECK - DAY

Maria recognizes the animal for what it is.

MARIA

It's a whale shark.

CARLOS

A what?

MARIA

It's harmless. It only eats plankton.

INT. WHEELHOUSE - DAY

Empty, no one sees a tiny green BLIP on the radar screen.

EXT. MAIN DECK - DAY

Everyone is intent on watching either the whale shark or the divers' bubbles. They don't notice the Esmeralda approaching from behind them. Carlos turns to go up to the wheelhouse and sees the boat. It's already too late.  Andrew fires a machine gun burst across the Vesuvius' bow.

UNDERWATER - DAY

The three divers hear the bullets hitting, then streaking through the water. They also see the hull of another boat pull up alongside the Vesuvius.

EXT. MAIN DECK - DAY

Shannon starts to reach for the .45 in his waistband.

SANGRINI

That would be a big mistake.

Shannon takes the weapon out slowly and drops it to the deck. Santos jumps aboard the Vesuvius with a line and secures the two boats together. Sangrini and Andrew step aboard.

SANGRINI (CONT'D)

Where are the others?

Santos comes from looking over the side.

SANTOS

Colonel, over here.

Sangrini joins Santos and sees the air bubbles coming up from below the boat. A pair of swim fins sail over the side and land on the deck.

GILES' VOICE

Hey, someone give me a hand.

Sangrini nods to Andrew, who goes over to the side. Giles looks up in apparent surprise. He starts up the ladder.

ANDREW

The knife.

GILES

Of course.

Giles reaches down and takes the knife from the leg scabbard and hands it up to Andrew.

UNDERWATER - DAY

Cody and Sawaya slip out of their tank harnesses and fasten them to the shaft. They turn down the flow of bubbles and swim away. They pass beneath the Esmeralda's hull, then split up. They rise slowly on opposite sides of the boat.

EXT. ESMERALDA - DAY

Sawaya comes up under an old tire hanging over the side. He holds on a moment to catch his breath, then climbs aboard. Forward, Cody huddles against the superstructure. Each works his way aft. Cody peeks around a corner and sees a guard with his back to him. He climbs up to the wheelhouse. Sawaya sneaks into the superstructure through a side door. Speargun in hand, Cody positions himself above and waits for Sawaya to make his move.

INT. ESMERALDA - DAY

Sawaya looks through a small opening in the door at the guard's back. The guard suddenly turns, but his eyes are shut tight as his mouth opens wide in a tremendous yawn. He doesn't see Sawaya right in front of him. Sawaya's hand shoots out, grabs the surprised man by the back of the head and rams his face into the door. The man goes limp. Sawaya pushes the door aside, grabs the man's weapon and sights in on Sangrini's head.

EXT. ESMERALDA - DAY

SAWAYA

Okay, let's everyone just relax. Put the 

hardware down, real slow.

Andrew spins around. His weapon is coming up when he sees Cody sighting down the speargun at him. Andrew lowers his weapon.

CODY

Kick it away.

Andrew shoves it across the deck.

SAWAYA

Now the others.

Santos and three others throw their weapons down.

CODY

Sangrini?

SANGRINI

I never carry a weapon.

CODY

Too bad. I was really hoping you'd try 

something. All right, everyone move back.

Sangrini and his men move back as Sawaya and Cody come aboard.

MOMENTS LATER, Sawaya and Giles put on the finishing touches to hog-tying Sangrini and his men.

CODY (CONT'D)

Yesterday,  you made us a proposition.

Today, I have one for you. We'll be taking the

 Esmeralda back and you can have your fancy toy. 

Of course, it'll take a bit of doing to get her running again.

SANGRINI

Very generous of you.

CODY

Not really. We'll take the diving gear. If you do 

manage to get her moving, I suggest you head back to Luzon.

(beat)

Next time, I'll shoot you on sight.

SANGRINI

Leaving us out here like this, you might as well 

do it now and get it done with.

CODY

That's not my style.

ANDREW

Someday I kill you!

CODY

I'm really sorry you feel that way.

ANDREW

I will hunt you down. I will find you.

Cody raises the speargun and points it at Andrew's chest.

CODY

Well, I can't very well go around with something 

like that hanging over my head. So I might...

Cody squints one eye as if he could miss from five feet away. Andrew's chin thrusts out defiantly. Cody's finger closes down on the trigger. Andrew's eyes twitch. Sweat forms on his forehead.

ANDREW

You're bluffing.

CODY

...as well take care of you right now.

Then I won't have to worry about you anymore.

As the others watch in shocked silence, Andrew's rock steadiness is betrayed by his sweat-drenched face.

Cody PULLS THE TRIGGER.

ANDREW

NOOOOOOO!

Andrew jumps back and crashes against the bulkhead. The spear strikes the wooded deck between his legs. He looks down at the shimmering spear and slowly raises his head to glare in hatred at Cody.

ANDREW (CONT'D)

I will kill you, slow, with my hands.

CODY

Maybe. But not today, big fellow.

INT. VESUVIUS - DAY

Sawaya closes the door to a small room in which Sangrini and his men have been placed, then slips a length of pipe through the handle and jams it under the dogging levers on either side of the door.

INT. ESMERALDA ENGINE ROOM - DAY

Giles climbs down into the engine room and surveys the machine. Sawaya looks down through the open hatch.

SAWAYA

How's it look?

Giles strokes the big engine as if petting a cat.

GILES

They stopped making these 20 years ago.

No tellin' how long she'll hold out.

SAWAYA

Do the best you can. We've got a ways to go.

Giles turns to his work. In moments it's obvious he's at home with machinery.

EXT. ESMERALDA - DAY

The boat belches a cloud of smoke and pulls away from the Vesuvius.

INT. VESUVIUS - DAY

SANGRINI

Hold it!

The men turn from battering the heavy metal door.

SANGRINI (CONT'D)

This is getting us nowhere.

He points to the smallest man in the group.

SANGRINI (CONT'D)

See if you can squeeze through there.

Sangrini motions to one of the portholes. The man studies it a moment, then shucks off his clothes. Two men get on either side of him and hoist him up. The man slips his head through, then grunts as his shoulders collide with the bulkhead. They back him away, then he bends his shoulders, sticks one arm through first, then slips through easily.

EXT./INT. VESUVIUS - DAY

The little man climbs up the side of the boat, scampers back down into the vessel and takes the steel bar out of the door. Andrew bursts through without so much as a thanks and runs outside. He goes up to the wheelhouse and searches the horizon. There is no sign of the Esmeralda.  Sangrini enters the wheelhouse.

SANGRINI

Get someone over the side and see what the problem is.

 I'll be by the radio in case he sends word.

ANDREW

Yes, Colonel.

(beat)

Santos, Felipe, over you go!

Santos and FELIPE obey without question. They dive over the side.

UNDERWATER - DAY

The two find the empty tanks and the wood. Santos unbuckles the tanks and lets them drift away. Then they go to work on the piece of wood.

INT. ESMERALDA WHEELHOUSE - NIGHT

The last rays of the sun cut a path through the clouds. Shannon takes the chart out of a cardboard tube and spreads it across a table. Cody, Sawaya and Maria look on as Giles mans the wheel. Shannon indicates a location on the map.

SHANNON

The Semirara Islands. That's our first stop. We'll pick up fuel 

and supplies, then one more stop before we head for the Kure Maru.

CODY

Where's that?

SHANNON

Time will tell.

Shannon rolls the chart back up and puts it back into the tube.

EXT. ESMERALDA - DAY

As the sun rises the boat SOUNDS SICK. A few miles away a tiny island hovers over the horizon.

INT. ENGINE ROOM - DAY

Giles walks around the tired, old engine, treating it as a living thing. Oil can and rag in hand, he dabs here and squirts there. All the while, he talks to it affectionately:

GILES

Come on, baby. You can do it.

EXT. AERIAL - DAY

The Esmeralda is a tiny speck on a wide track of ocean, with an equally small island a few miles away. The tired engine can be heard from high above.

EXT. PIER - DAY

The Esmeralda is tied up to a rustic pier. An even more rustic looking, weather-beatin old man greets them. Shannon jumps to the pier and they embrace. Shannon turns to the others as they step down to the pier.

SHANNON

This here's Trader!

Everyone says "hi" or simply nods a greeting as Shannon goes on:

SHANNON (CONT'D)

He was a coast watcher during the war. We met on my first year down here looking for the Kure Maru.

INT. TRADER'S HOUSE - NIGHT

All, except for Carlos, are seated around a rough, wooden table. The boy is sleeping on a bed in a corner. They sip warm Australian beer and laugh at some joke.

TRADER

Oh, I get a few Moros in here ever so often.

I enjoy the solitude. But I tell ya, when this here mad \Irishman 

came in here with this wild story about a ship of gold 

floatin' around, I did think he was a bit daft.

Shannon grins as Trader slaps him on the back.

SHANNON

I was beginning to wonder, myself.

SAWAYA

Trader, do you miss Australia?

TRADER

At times, yes, I do. But there's nothing back there for 

me. Nothing.

He gets a far away look, then snaps out of it as he notices Carlos sleeping in what has to be an uncomfortable position.

TRADER (CONT'D)

The boy's gonna get a crook in his neck.

Maria starts to get up,  when Sawaya stands and takes a pipe out of his pocket.


Still formatting....

SAWAYA

I'll take him out to the boat and put him to bed. I need to get my tobacco pouch, anyway.

TRADER

He's welcome to stay here tonight.

SAWAYA

We'll be pulling out early. No sense waking him.

TRADER

Have it your way.

INT. ESMERALDA - NIGHT

Sawaya sets the boy gently on a bunk, closes a door and goes over to a radio. He switches it on. The radio HISSES and CRACKLES to life. Sawaya turns the volume down, then dials in a frequency and speaks softly into the microphone:

SAWAYA

Hunter, this is Bay Wolf, over.

STATIC CRACKLES from the speaker, then:

HUNTER'S VOICE

Bay Wolf, this is hunter, over.

EXT. WHEELHOUSE - DAY

Shannon straightens up from the chart and rubs the stump of his missing arm. He touches the image of a large island on the chart.

SHANNON

Mindanao. There's a Moro village at the southern end. We'll meet the men who found the ship.

Cody is at the wheel. He blows down the tube leading to the engine room, then calls down:

CODY

Giles, ahead, quarter speed.

GILES' VOICE

Quarter speed, it is.

EXT. PIER - DAY

Trader stands at the edge of the pier and watches the Vesuvius approaching.

TRADER

Who'n blazes?  This is turning into a regular tourist trap.

Standing on the bow, Trader sees the biggest black man he's ever seen.

EXT. BOW OF ESMERALDA - DAY (SUNSET)

Cody gazes across the churning sea to the accompaniment of the ever-complaining engine.

MARIA'S VOICE

It's beautiful, isn't it.

Cody turns to Maria. The sun casts a warm glow on her copper skin. He comes up close to her and touches a strand of her hair.

CODY

Yes, she is.

She looks up into his eyes and her lips part slightly. He takes her face in his hands and kisses her lighting on the lips, then her now wet cheeks and her eyes as the tears flow.

MARIA

Oh, Steve, I loved you so.

He pulls her to him. She rest her head on his chest.

CODY

(emotional)

I know.

MARIA

I don't know what to do. I love Brian, but there's a part of me that still cares for you.

He holds her a moment, then release her.

CODY

You have your life with Brian, now. I loved you... I probably will always love you.

(beat)

Brian needs you.

MARIA

And you don't?

He doesn't answer. She studies him, then stands on her toes and kisses him. She walks away, leaving him ALONE.

EXT. WHEELHOUSE - DAY (SUNSET)

Shannon watches as Maria walks away from Cody. He has seen it all.

EXT. PIER - NIGHT

The Vesuvius roars away from the pier. The men on her decks watch as flames jump skyward from Trader's home. A body lays sprawled in the yard. Andrew watches with satisfaction.

EXT. ESMERALDA - DAY

The boat enters a narrow channel into a shallow bay. Haze from hundreds of cooking fires hangs over a village built up on stilts over the water. Under each hut is a small canoe. Tied further out are the large, sea-going outriggers.

SHANNON'S VOICE

All stop!

Sawaya is on the bow and releases the anchor. Shannon watches as village children race for their boats to come out to them.

EXT. BAY - DAY

Each of them rides in a canoe guided by a teenage child toward the village. From one of the huts a beautiful young girl waves to them.

MARIA

That's my namesake. She's the chief's great granddaughter. My goddaughter.

SHANNON

It was her father and brother who found the Kure Maru.

(chuckles)

I'd like to have seen that. She came up out of the fog like a ghost. Old Mahamound and his boy thought it was some kind of sea beast, from what I hear.

The younger MARIA waves anxiously at them. Behind her, a bent and incredibly wrinkled old man peers out the window and smiles a toothless smile. The canoes pull up under his hut.

INT. CHIEF'S HUT - DAY

The CHIEF embraces Maria, then Shannon. Sawaya and Cody are too big and imposing for such familiarities, so he holds out a thin hand and shakes vigorously with each. Shannon introduces each to the old man.

SHANNON

Gents, this is Chief Yahya Al-Shahrani.

(to Chief in Moro dialect)

My dear friend, please meet Mr. Sawaya and Mr. Cody. And this is Mr. Giles. The boy is Carlos.

Giles is more to the Chief's liking and he gets a slobbery embrace. The Chief is obviously drunk, and has been for years. He goes on talking as Maria translates:

MARIA

Chief Al-Shahrani has graciously invited us to a party tonight...

CODY

Well, thank the chief for us, but please explain that we must leave right away.

MARIA

Steve, I don't think you understand. He is celebrating his birthday. Many barrios will be coming.

CODY

That's all fine and dandy, but...

SHANNON

It's no use, Steve. He'll lose face if we don't accept. We won't get any help from the young men.

Shannon puts an affectionate arm around the Chief's shoulders, talking at him and about him at the same time. The Chief doesn't understand. He's just giddy about seeing his friends and having one more excuse to throw a party.

SHANNON (CONT'D)

He may fart a lot and smell like a dead fish and tuba, but he's still the chief and he carries a lot of weight in these parts.

VARIOUS SHOTS of the feast as tuba (drink) and San Meguel fills every glass and gourd. Dancers leap lightly between bamboo poles performing the Tinikling Dance; chickens and hogs are chased down and killed to appear on spits over hot coals. Food is everywhere: corn, rice sweet potatoes and bananas, fish and every type of sea creature, mangoes, papayas and breadfruit. People sing and sway to island music.

Giles attempts the Tinikling Dance. Neither sober nor agile, he is immediately cut down by two hard blows to his ankles. Everyone howls at his expense as he clutches his bruised ankles.

INT. VESUVIUS - NIGHT

Sangrini studies two green electronic BLIPS on the radar screen.

SANGRINI

Too big to be them. Probably and interisland steamer.

ANDREW

I don't like it.

SANGRINI

What's not to like?

ANDREW

No feel right. Too many 'tings go wrong. Dis my operation, I pull out.

SANGRINI

It's not, and I'm paying you better money than you'd be getting holding up some banana republic. We keep going. Besides, he'll contact us.

ANDREW

I still don't like it.

INT. CHIEF'S HUT - DAY (SUNRISE)

Giles rolls over and a shaft of sunlight cuts across his face. He grabs his head and MOANS.

GILES

Oh, my aching head!

Through squinting eyes he studies the carnage. Bodies and debris are everywhere. Giles laughs, then regrets it when he sees the toothless Chief sprawled across the breasts of a huge woman.

Across the room Cody stares out a window as the sun creeps up over the mountains. One by one, each person comes to life. Cody turns to the others.

CODY

Let's get moving.

SAWAYA

The man has no soul.

GILES

Or pity.

EXT. HUT - DAY

Cody and Sawaya stand at the bottom of the ladder and help the others into canoes.

INT. CANOES - DAY

It's a quiet trip out to the Esmeralda. Maria, Carlos and Shannon sit quietly, while Giles lays a trail of last night's feast behind his canoe, to the amusement of the children paddling.  Moments later, a canoe bumps into the Esmeralda. Cody hurries up the ladder. He starts to turn to help the others up when:

A GUN MUZZLE TOUCHES the back of his head.  He stiffens.

SAWAYA

stands on the aft ladder and helps the others up onto the Esmeralda. Finally, he starts to climb aboard and finds himself staring into the muzzle of a machine gun. He steps aboard while the man keeps the gun pointed at his face. The others are lined up against the superstructure with their hands clasped behind their heads.

SAWAYA (CONT'D)

I have a feeling we've been through this already.

GILES

It does feel familiar.

The man with the gun nudges Sawaya over to the others. A young Filipino comes down from the wheelhouse and stands in front of Cody.

PHILLIP

It is good to see you again, Sergeant Cody.

CODY

Wish I could say the same, Phillip.

Cody lowers his hands, ignoring a gunman's nudge in the ribs to put them back up.

PHILLIP

You have caused me many problems, Sergeant.

CODY

We're all civilians, here.

PHILLIP

The Hukbong Magpapalayang Bayan are not

CIVILIANS. WE FIGHT FOR OUR LANDS AND INDEPEN-

dence.

CODY

And not very well.

PHILLIP

You killed three of my men.

CODY

You shouldn't consider them much of a loss.

PHILLIP

You talk big for someone with a gun in his back.

In one swift move, Cody kicks out, striking the guard just below the chin. The man almost bites his tongue off and, as he howls in pain, Cody snatches the machine gun. He calmly aims it at Phillip. Instantly, Phillip's men aim their weapons at Cody.

CODY

Tell them to put their weapons down.

PHILLIP

I can't do that. I'm not afraid to die for the cause. My men will just kill you and the others. In the end, we will still get the gold.

CODY

I wouldn't count on it. We bump each other off and Sangrini takes all the marbles.

Phillip mulls this over then nods for his men to lower their weapons. He points toward the horizon.

PHILLIP

He is out there.

CODY

How do you know that?

PHILLIP

We passed him in the dark... after he had finished with the one called Trader.

SHANNON

What about Trader?

PHILLIP

He is dead.

Shannon is stunned and starts to drop to his knees. Sawaya holds him up.

CODY

The way I see it, either we team up or Sangrini wins and your people lose again.

PHILLIP

You will lose, too.

CODY

Only gold. You want liberation. That costs.

Phillip looks around at his men. They seem eager to cooperate. He holds out his hand and smiles at his old friend.

EXT. COASTLINE - DAY

The Esmeralda and two outriggers hug the coast.

EXT. AT SEA - NIGHT

The three boats plow through pounding waves.

INT. ESMERALDA WHEELHOUSE - DAY

Cody and Phillip look out the windows at a thick, white wall of fog.

CODY

I've never seen fog like this.

The Esmeralda is stopped. Waves can be heard BREAKING against a distant shore. The others join them. Giles and Carlos are outside the wheelhouse, but a window is open so they can talk to those inside.

SHANNON

Damned eerie stuff.

Giles takes his glasses off and wipes them with his shirt.

GILES

Thicker than split pea soup.

Phillip's men gather on the main deck. They are wary of the quiet softness closing in around them. One of the men jumps at a SHRILL YELL coming through the fog. It is the VOICE of one of the men from the outriggers.

PHILLIP

She is here.

EXT. ESMERALDA - DAY

The fog begins to dissipate. At first, they see nothing. Then a faint shadow begins to materialize. First, the outriggers, then a giant black SHAPE looms out of the fog. It looks like the battered head of a beached whale. Finally, they can see the war-battered bow of the Kure Maru sticking out of the water at a precarious angle as it rests against a reef. The fires and explosions of five years ago have melted the ship down into a twisted mass that hardly looks like the ship she once was.

SHANNON

There's an island another two hundred yards past the ship. We'll be able to put

a group ashore to set up camp.

SAWAYA

How do you know about the island?

SHANNON

I've been all over these island over the last five years.

CODY

(studies the sky)

It can turn nasty real quick this time of year. Looks like it wouldn't take much to break her lose.

SHANNON

Let's get moving, then.

INT. WHEELHOUSE - DAY

Sawaya steers the Esmeralda and eases her closer to the wreck.

EXT. ESMERALDA - DAY

Phillip leans over the side and studies the water.

PHILLIP

She's sitting on the edge of a trench. A good wind comes up and she's gone.

GILES

I don't understand what brought her up in the first place.

SHANNON

The logs. Remember, she was carrying a cargo hold full of Teak logs. When she went down she reached a point of negative buoyancy and wouldn't sink any further because of the logs. Teak's been known to stay buoyant for centuries.

SAWAYA

What were the odds of finding her. There's a million square miles of ocean between here and where she went down.

SHANNON

I wasn't going anywhere. The Moros know this area like you know your home town.

There were at least three big storms out here that I believe brought her up, cause the villagers were scared of this ghost ship they saw. I figured it had to be her and that the prevailing currents would eventually bring her up around here after the next storm.

(POINTS AT SHIP)

And, by God, there she sits.

GILES

Lucky for us.

CODY

We better get onboard pronto and see what's inside.

VARIOUS SHOTS as Cody, Sawaya and one of Phillip's men prepare to dive. Maria, Carlos and a couple more men row over to the island and set up camp. The three divers leap into the water.

UNDERWATER - DAY

The three swim close to the ship. The current is rough and they struggle against it. Just above them they can see the white waves breaking against the hull.

SURFACE OF WATER - DAY

They surface in the whitewater and approach the ship. Cody tries first to get aboard as he catches a wave and rides it up the edge of the ship just as the wave breaks. He slips beneath the surface and lets the wave roll back, then scampers as best he can with swim fins to get clear of the next incoming wave.

Sawaya goes in next, then Phillip's man. After they get aboard, they make their way through the jagged wreckage, searching for an entrance down into the ship. The metal has been melted and fused together.

SAWAYA

(shouts over noise of waves)

Doesn't look like there's a way in!

CODY

Then it's the hard way.

Cody is backing into the water when a huge wave hits the side of the ship. IT MOVES, throwing them off balance.

SAWAYA

What the hell!

Sawaya stumbles and steps over a sharp piece of metal, gouging his thigh. Blood oozes from the torn wetsuit. Sawaya grabs a steel cable and keeps himself from further injury. Cody didn't see what happened as he disappears into the water.

UNDERWATER - DAY

They make their way alongside the ship, eyeing what little superstructure is left. Sawaya sees a door, lights a flare and swims into the ship. Cody and the Filipino wait as Sawaya squeezes through the jammed door and swims into the darkness.

INT. SHIP - DAY

Sawaya finds himself in a passageway. He goes only a short way and discovers it's completely caved in. He looks around. There is no other way in. Then he hears a strange THUMPING sound, like someone beating on a very big base drum. He gives up and works his way back to the door.

EXT. SHIP - DAY

They swim further down, staying near the hull. There's a myriad of tropical fish. The ship is alive with sea creatures. Cody reaches out to touch a bright colored fish and it coyly swims away just out of reach. He runs a gloved hand along the barnacle-encrusted hull.

There's a gradual change in the MOOD of the water. Cody SENSES something is WRONG. There's a FOREBODING feeling. Then he realizes what's wrong: all the fish are gone. Not a trace of life besides themselves.

Cody reaches out and grabs Sawaya by the arm and points to his leg. BLOOD is steaming from the wound. Now they know what they're looking for. They stop swimming. Cody and Sawaya ease their spearguns from behind their backs. They wait. They stare into the blackness below them.

The SHARK is at first just a darker shade of blue. Then gray. They watch, mesmerized by its size as it swims far below them. Suddenly the animal turns and swims straight up at them. Caught in the open, they can only watch as the shark comes at them.

Sawaya shakes his head to clear his self-imposed stupor, then holds the still burning flare out in front of him just as the shark is almost on them. It darts away. It doesn't go far, though. It turns and comes back, ignoring Sawaya and heads for Cody.

Cody jerks to the side just as the GAPING MOUTH closes down with a GRINDING CRUNCH. Cody's air tank is caught in the shark's teeth. The animal shakes violently, throwing Cody around like a rag doll.

CODY'S POV as he's shaken. Bubbles and blurry images of Sawaya and the other man. Then he BLACKS OUT.

Cody is suddenly free and Sawaya helps him swim to the surface. Cody looks down and can see the shark swimming away. The flare sinks slowly behind the shark.

EXT. ESMERALDA - DAY

Sawaya helps Cody up the ladder. The Filipino diver is already aboard and gives Cody a hand up. Shannon reaches over and takes hold of Cody's tank and sees the broken teeth and that the tank is partially crushed.

SHANNON

What happened?

Sawaya comes aboard as Cody struggles out of the harness.

SAWAYA

It was my fault.

CODY

It's no one's fault.

SAWAYA

I know better than to go into the water bleeding...

SHANNON

Bleeding?

Sawaya shows him the wound. It's more serious that it first appeared.

MARIA

We better take care of that right away.

You won't be doing any diving for a while.

SAWAYA

Come on, it isn't that bad.

She grabs his leg and the pain almost floors him. She smiles at him. He has to sit down.

SAWAYA (CONT'D)

Maybe you're right.

CODY

Phillip can dive with me.

UNDERWATER - DAY

Phillip, Cody and another man plunge into the water. Cody leads the way straight down. They keep their spearguns ready, but there's no need this time. The shark is no where to be seen. They swim to the gaping hole in the stern that was blown there by the torpedo. They light flares and head in.

INT. SHIP - DAY

The flares cast an eerie glow. It is like a submerged cavern. The force of the torpedo obliterated several compartment into one mass of twisted steel. Bulkheads are buckled and doors jammed. They swim out into a passageway and move steadily upward until they come to a door blocking their way. Jammed partially open, Cody squeezes his head through. He holds a flare out in front of him. He can see the a cargo hold. Below are the charred remains of several trucks and a car.

Cody backs out and they swim up. There's a SLOW GROAN and they stop. TEARING METAL sounds echo through the water and the ship MOVES slightly. A RUMBLE goes through the ship. She is slowly breaking apart.

Cody looks from Phillip to the other man. Too late, Cody sees the STARK TERROR in the man's eyes. He turns and swims straight down. Phillip and Cody chase him. Cody reaches him first and grabs his air tank. He pulls the man back just as Phillip catches up and tries to pin the man's arms.

Terrified, the man knocks them away and swims blindly into a bulkhead. He goes limp and his mouthpiece drifts away. Cody reaches over and replaces the mouthpiece and checks the man's mask. Blood oozes from a jagged cut on the top of his head.

Phillip touches Cody and points at his watch. Cody slips an arm around the man and begins to make his way through the passageway, as Phillip collects the spearguns and follows.

EXT. ISLAND - NIGHT

The group sits around a fire eating fish and rice. The mood is relaxed as one man plays an old guitar and two others begin an impromptu dance. Soon, Maria is up and dancing with them. They laugh, drink beer, eat and sleep.

RED COALS shimmer. Everyone appears to be sleeping. Then a lone figure slips out of the camp, climbs into the skiff and rows out to the Esmeralda.

EXT. WHEELHOUSE - NIGHT

The figure is visible through the window. He listens to the STATIC from the radio, then gives his muffled message.

EXT. ISLAND - NIGHT

The figure slips back into camp and lies down. He has not gone unnoticed. Sawaya watches as Carlos makes himself comfortable in the sand.

UNDERWATER - DAY

Cody and Sawaya swim down to the Kure Maru. Each carries two tanks. Behind them, two of Phillip's men carry extra tanks.

INT. SHIP - DAY

Cody leads Sawaya through the ship to where he and Phillip had stopped. They swim only a short distance when they find their way hopelessly blocked by debris. Sawaya goes back to a door they had passed. It is closed and dogged down tight.

Cody checks their time as Sawaya finds a dogging wrench and goes to work on the door. One by one, he breaks the levers free. It takes both of them to break the door open, then they swim through.

Sawaya lights a fresh flare and they see they're in a cargo hold. They swim above the burned trucks and find that the further they swim, the less damage there is. They swim slow and careful, picking their way through a growing maze of crates and equipment still fastened to the deck.

They're still swimming up when the ship SHIFTS again. Sawaya moves under a ladder and gantry. Cody looks up and sees heavy crates hurtling down at him. Sawaya reaches out and grabs one of Cody's tanks and yanks him out of the path as the crates cascade by them, tearing other crates apart, adding to the avalanche of silt and broken wood.

Cody thanks Sawaya with a thumbs up. They swim up through the silt until they reach a bulkhead. They feel their way along it until they come to another door. This one is different from the others. It has a small locking wheel in the center that, when turned, moves three locking levers that secure the door. They find a long metal rod and break the door lose. Then they open it and swim through into another cargo hold.

They are dwarfed by the huge TEAK LOGS. Still chained to the deck, they are, however, standing almost straight up due to the extreme angle of the ship as it sits on the reef. As they swim between the logs they hear the THUMPING heard earlier. They discover two of the logs have broken free of the chains and are bobbing about like two giant battering rams as they crash up into the bulkhead.

They swim warily between the logs to another door similar to the one they last went through. Cody finds a fire ax, but it falls apart as he takes it from the bulkhead. Sawaya takes out his knife and slips it through the spokes of the locking wheel. He pushes. Nothing. He braces his feet against the end of a log and pushes. The wheel GROANS, then breaks free. He spins the wheel.

WHOOSH! KAPOW! The door EXPLODES open. Sawaya is flung back and is pinned between the bulkhead and the door as crates and debris tumble through the opening. Cody hugs the bulkhead, trying to see through the silt.

Finally, the downpour stops. Cody swims over to where he last saw Sawaya. The door opening is completely clogged. As the silt clears, Cody makes out Sawaya trapped behind the door. Cody pulls at the door. It doesn't budge. He braces his feet against the bulkhead and pulls. It MOVES just enough to get Sawaya out. His right arm is shattered. Cody checks his watch. He cradles Sawaya and begins the journey out of the ship.

EXT. SHIT - DAY

They come out of the ship and head up toward the surface.

EXT. ISLAND - NIGHT

The group sits around the fire. Maria nurses Sawaya's splinted arm. She is just giving him a shot a morphine. Cody tells Phillip and the others what happened.

CODY

We made it as far as the number two hold. When we pried open the door between there and number one, it blew open and caught Kemp behind it.

Maria looks at Sawaya. He's in pain, but resting.

SHANNON

He's lucky to be alive.

CODY

More so than you think. If you recall, number one hold had munitions in it.

After this long submerged, it's got to be pretty touchy. As it is, we're going to have to find another way in.

SHANNON

We're running out of time.

CODY

I don't care how much gold is down there. We can't spend it if we're dead.

EXT. ESMERALDA - DAY

SHANNON

Then I guess we'll just have to find another way in.

MARIA

There is another way.

They turn to find her in a wetsuit with a tank slung over her shoulder.

MARIA (CONT'D)

The air vent... remember.

CODY

Yes. But there's no telling what condition it's in.

MARIA

Only one way to find out.

CODY

Whoa, you're not going anywhere.

MARIA

You listen to me, Steve Cody. I didn't sit around then, and I'm not sitting around now.

I'm just as good a diver, if not a damned

SIGHT BETTER, THAN YOU OR ANY OF THESE HALF-

wits. With Kemp out of it, you need all the qualified help you can get.

She points to the darkening horizon.

MARIA

If you look around, you'll see that you weren't far from wrong about storms. We haven't got time to sit around debating. I'm going!

Cody studies the ominous clouds gathering far to the north.

CODY

There's no debating down there. You do as I say... or stay up here.

INT. KURE MARU - DAY

Four divers are outlined by the torpedo hole as they enter the ship. Through several DISSOLVES they work their way through the ship until they find the air vent. Cody goes in first, then Maria, Phillip and one of his men.

Cody leads the way through the narrow vent. It's a tight squeeze and, after getting snagged up a couple times, they manage to work their way through the twists and turns. Suddenly, they run out of tunnel. They are in a CAVERNOUS BLACK PIT, the NUMBER ONE CARGO HOLD. Their flares aren't sufficient to light up the huge room. They swim down into the darkness.

They begin searching through thousands of crates and equipment. It's a jumbled mess. Gradually, they become separated. Maria swims over a piece of machinery and happens to look up. She sees a thin beam of light coming from above. She swims up toward the light.

The others keep searching. Cody is looking over a crate when a dark figure looms up behind him. A hand reaches out and touches him. Startled, he spins around to face Maria. She points up and signals for him to follow her.

INT. CHAIN LOCKER - DAY

Cody breaks through the surface of the water into another room--FILLED WITH AIR. He looks around in amazement. Maria is climbing out of the water. She slips off her tank and hangs it on a pipe. She takes off her swim fins and begins to climb up, then turns back to look down at Cody.

MARIA

Coming?

Cody swims over to the ledge, removes his tank and fins and follows her. She looks over a ledge from above him.

MARIA (CONT'D)

You're not going to believe this.

They work their way up through the forecastle, over anchor chain and around wenches. They see the light above and in a few moments find themselves...

EXT. BOW - DAY

...STANDING IN BRIGHT SUNLIGHT at the very tip of the bow of the ship looking out across the water. Cody studies the wreckage they just emerged from.

CODY

I'll be damned! From here you can't tell there's a way in.

MARIA

Better late than never.

CODY

Now all we have to do is find the gold.

(studies clouds)

Day. Two at the most. It's coming our way.

EXT. ESMERALDA - DAY

The boat has been moved closer to the wreck. The skiff is headed from the Kure Maru. One of Phillip's men waves and holds up a bar of gold for those on the Esmeralda to see.

VARIOUS SHOTS as the venture proceeds smoothly. Divers bring up gold to the air pocket, where a chain of men brings it outside and lowers it to the skiff in a wire basket on a rope. The excitement builds as the ingots begin to pile up on Esmeralda's deck. Men take turns cleaning the gold, stacking and admiring it. Shannon keeps count in a ledger of how much is brought up.

Slowly, Shannon begins to notice a change in Phillip's men. A glance here, a touch there. The enormity of the treasure is beginning to show on some of their faces. Some seem to be plotting with their eyes, while others continue to work diligently.

Cody comes aboard with the last load for the day. The sun is just setting and the sky is brilliant red. Cody looks at the sky.

CODY

It doesn't look as bad today. Maybe the storm is turning toward the mainland.

SHANNON

We can hope. I figure we haven't got a third of it yet, and there's better than ten to fifteen million sitting here, not counting the diamonds.

CODY

Diamonds?

SHANNON

Colonel Ono also liked to collect diamonds.

Easier to carry in case he had to run for it.

CODY

How do you happen to know this?

SHANNON

I found them on his body. I put them in a safe place... who would've thought the U.S. Navy would sink her, huh.

MARIA

You never mentioned them to me.

SHANNON

There was no need to; not unless I found the ship.

CODY

Where?

SHANNON

In his car. The glove compartment.

CODY

Anything else we should know about?

SHANNON

No, that's it.

CODY

I'll check it out tomorrow. We best turn in. It's gonna be a long day.

INT. ESMERALDA WHEELHOUSE - NIGHT

Sawaya is bent over the radio, concentrating on sending out a message. He doesn't hear someone enter behind him. Then something hits him in the back of the neck and he goes down. He lays unconscious beside the radio, the microphone still in his hand, as a VOICE says:

HUNTER'S VOICE

Bay Wolf, come in, over.

MINUTES LATER, Sawaya moans and rolls over. He props himself up on his good arm and looks up at Cody and Shannon. Cody holds a gun on Giles, who he pushes roughly into the captain's chair. Cody points the .45 at Sawaya, motioning for him to rise.

CODY

How long you been working with Sangrini?

SAWAYA

I'm not.

Sawaya leans against the wall for support. His head is killing him.

SAWAYA (CONT'D)

It isn't what you think. I can explain, but you're not going to like it.

SHANNON

We don't need any more of your lies.

Sawaya is dazed and confused. Carlos watches from the door.

SHANNON (CONT'D)

What are we going to do with them?

Cody looks at Giles, who doesn't look all that worried. In fact, there's a bit of a smile on his face.

GILES

I don't think murder is your style, mate.

CODY

Maybe not mine, but if I should decide to turn you over to Phillip...

The smile disappears.

CODY (CONT'D)

We'll put them in the rope locker until we can figure out what to do with them.

(to Carlos)

Take the skiff back and pick up the rest.

(beat)

And don't say anything about this, okay.

CARLOS

Okay.

INT. ROPE LOCKER - DAY

Cody pulls on the rope behind Sawaya's back to make sure it's secure, then steps out and locks the door. He goes up...

EXT. ESMERALDA - DAY (SUNRISE)

... on deck and joins Phillip, Maria and Shannon. The sun is just coming up. The sky is bright red.

CODY

Red sky in morning, sailor take warning.

They look toward the approaching storm.

PHILLIP

It's moving fast.

Cody starts to suit up for a dive.

CODY

It'll be close.

INT. KURE MARU - DAY

Cody and Phillip pick their way through the ever-shifting cargo. There are a few gold ingots left. As they place each in the wire basket it is lifted up.

INT. CHAIN LOCKER - DAY

Maria takes an ingot out of the basket and stacks it on a ledge with others.

EXT. ISLAND - DAY

Carlos guns the motor as the men step in the skiff and take their seats. The motor WHINES and the boat plows through the now choppy water headed for the Esmeralda.

EXT. OCEAN - DAY

They are a few hundred feet from the Esmeralda when the Vesuvius comes around the island. Carlos sees it and cranks the throttle for all it's worth. A burst of machine gun fire just misses the skiff. Carlos dives over the side a second before a second burst hits the skiff, killing three men. Two others manage to dive over the side. They swim for the Esmeralda. Carlos is too scared to swim. He stays with the wreckage of the skiff.

The men on the Vesuvius fire at the two swimmers. One is hit and when his friend turns back to help him, he is struck. They quickly disappear beneath the waves. Keeping the wreckage between himself and the Vesuvius, Carlos watches helplessly. He cries silently:

CARLOS

You promised.

EXT. VESUVIUS - DAY

Andrew peers down his weapon at Shannon and another man on the Esmeralda as the Vesuvius pulls up alongside.

ANDREW

Down on your bellies!

Shannon glares at Andrew as he steps aboard the Esmeralda. Andrew walks up to Shannon and hits him in the side of the head with the butt of his weapon, then shoves Shannon to the deck. The other man needs no such convincing. He goes down quickly.

Andrew watches as two of his men search Shannon and the other man. Just then, a door bursts open and another of Phillip's men charges Andrew with a bolo. Andrew whirls around and shoots the man twice.

Sangrini emerges from the Vesuvius and comes over to the Esmeralda.

SANGRINI

Anyone else down there?

Andrew kicks Shannon in the ribs when he doesn't answer.

SHANNON

Yeah!

EXT. KURE MARU - DAY

Maria crouches out of sight and watches what's going on aboard the Esmeralda.

INT. CHAIN LOCKER - DAY

She climbs back inside and tugs on the line that goes down to Cody and Phillip. A few moments later, they surface.

MARIA

Sangrini. They've killed your men, Phillip.

EXT. ESMERALDA - DAY

Sangrini motions toward the Kure Maru.

SANGRINI

The others out there?

SHANNON

Why don't you go find out for yourself.

Andrew grinds Shannon's hand into the deck with the heel of his boot. Shannon strangles the SCREAM in his throat. Santos stands near the edge of the boat. He turns to Sangrini.

SANTOS

Colonel, air bubbles. Over there.

Sangrini motions for his men to spread out.

SANGRINI

This time, no surprises.

Swim fins fly onto the deck. Cody comes aboard. Sangrini and his men are hiding. Cody turns and helps Maria aboard. When he turns back Sangrini and Andrew step out from hiding. Cody makes a half-hearted attempt for a speargun.

ANDREW

You're a dead man if you do.

Cody shrugs, then backs off. Andrew signals for a man to take Cody's and Maria's knives.

SANGRINI

Phillip?

CODY

He was on the island.

ANDREW

Then he is dead.

Maria "acts" shocked. Sangrini is happy about this.

SANGRINI

(to one of his men)

Bring up the others.

A moment later, Shannon and Phillip's last man are brought up.

SANGRINI (CONT'D)

Someone's missing. Where is he?

CODY

He's tied up in the rope locker.

SANGRINI

I trust you weren't too harsh with him.

CODY

I thought about drowning him.

SANGRINI

Sergeant Cody, I'm genuinely surprised.

I believed you were actually fond of him.

CODY

What ever gave you that idea?

SANGRINI

When he radioed, he specifically asked that we not harm you.

Behind Sangrini, Santo brings Sawaya and Giles up from below. Cody motions with a nod toward them.

CODY

You can tell him I'm not grateful.

Sangrini turns and sees the men. He has an odd expression when he turns back to Cody.

SANGRINI

Is this who you're talking about?

(laughs)

Oh, sergeant, what a fool you are. You have hampered the one man who could have helped you the most.

Cody and Shannon exchange puzzled looks. They look to Sawaya, who has a "I tried to tell you" expression.

SANGRINI (CONT'D)

This is Commander Kemp Sawaya.

SHANNON

Commander?

SANGRINI

(motions to Giles)

And his faithful sidekick, Chief Warrant Officer Sterling Giles. Both of the Naval Intelligence Service.

SHANNON

Naval Intelligence!

SANGRINI

Yes. They were here to recover the gold for the government. Whose government, though, I'm not quite sure of.

SHANNON

I don't understand. Who contacted you?

SANGRINI

Why, the boy, Carlos, of course.

MARIA

He wouldn't do that.

SANGRINI

Yes he would. And he did. You see, we have his brother. They're quite loyal, these street thieves.

SHANNON

Not like your kind of thief, I take it.

SANGRINI

I'm bored with this. We'll be going down to get the rest of the gold... and my diamonds.

SHANNON

Your diamonds?

SANGRINI

Of course.

INT. ROPE LOCKER - DAY

Santos pulls on the rope and Sawaya winces in pain. Giles and Shannon are tied up beside him.  Andrew checks the ropes.

ANDREW

Good. Get topside.

SANTOS

Yes, sir.

EXT. ESMERALDA - DAY

Sangrini slips on a face mask.

SANGRINI

Ready?

ANDREW

Oui.

They leap into the water. Cody and Maria are next, followed by Santos and another man. All are armed with spearguns.

UNDERWATER - DAY

Cody leads them down the side of the wreck. Along the way, he nudges Maria closer to the hull, forcing Andrew to the outside. Sangrini swims a few yards behind, while Andrew stays just off Cody's right shoulder.

When Cody makes his move it is so subtle neither Andrew nor Sangrini are alarmed. He bumps into Maria.  Her tank CLANKS against the hull and ECHOES through the water. Santos and the other man turn to see what happened. Sangrini waves them on and they head down.

For the brief moment that Santos and the other man have to swim through their own bubbles they are unaware of the dark shape coming up at them. Cody sees it, though, and guides Maria closer to the hull.

Andrew sees Cody's move and senses something is wrong. He looks down toward Santos and almost chokes on his mouthpiece when he sees the huge shark coming straight up. Andrew points frantically with his speargun, but his warning is useless.

When Santos and the other man see the shark it is already too late. In one terrified burst of desperation, the other man drops his speargun and heads for the surface. The shark suddenly changes course and heads straight at him. Santos watches in horror as the creature races past him and hits the other man just above the knee.

Cody grabs Maria and heads for the entrance into the ship, while Sangrini and Andrew are distracted.

The water around the wounded man and Santos is now alive with sleek, gray bodies. Sharks dart in and out, snatching bits and pieces of what's left of the man. Santos looks away from the carnage and realizes he has drifted away from the ship.

Sangrini and Andrew make no attempt to help Santos, but use the distraction as they stay close to the hull, working their way to the opening. Santos clutches his speargun as the sharks close in. One darts in at him. Santos fires, hitting it just under the pectoral fin. The fish jerks wildly and the others attack it. Santos drops the empty speargun and takes out his knife and waits. A shark rams him in the face, knocking away his mask. Santos swings the knife blindly. Another shark hits him from behind and drags him into the darkness.

INT. KURE MARU - DAY

Cody glances over his shoulder as he leads Maria through the ship. Andrew and Sangrini follow their bubble trail.

EXT. ESMERALDA - DAY

The men left behind on the boat don't see Carlos slip aboard behind them. He moves quickly along the companionway, then ducks down inside.

INT. ESMERALDA - DAY

Carlos looks for some place to hide. Then he hears Shannon's voice through a door:

SHANNON'S VOICE

See if you can reach it with your toe.

INT. ROPE LOCKER - DAY

Giles is stretching for all he's worth, trying to pull the rope toward him when the door opens and Carlos looks in.

SHANNON

Carlos!

GILES

The door, Carlos, close it.

Carlos shuts the door. When he turns around tears stream down his face.

CARLOS

I thought they kill all of you...

SAWAYA

Carlos, untie the ropes. Hurry.

EXT. ESMERALDA - DAY

The approaching storm is beginning to churn the water. The boat pulls at her anchor chain. Sawaya and Shannon are an odd looking pair as they come slowly up the ladder: a one-armed man and a man with a broken arm. Between the two, they have two good arms, though.  It's difficult going up the ladder as the boat bounces around.

The boat suddenly pitches violently, then drops from under them. Sawaya loses his balance and falls forward. One of Sangrini's men hears the NOISE and rushes over to the door. He looks down at Sawaya and Shannon. He brings up his weapon and starts to squeeze the trigger.

A BURST OF GUN FIRE catches him in the back. The man lurches forward and falls over Sawaya and Shannon, crashing on the deck below them.

EXT. VESUVIUS - DAY

Giles swings the .50 caliber machine gun around.

EXT. ESMERALDA - DAY

The two remaining men jump for cover as Giles fires down at them into the boat.

INT. ESMERALDA - DAY

Bullets go right through various compartments, including the engine room and into the hull. Water begins pouring in.

EXT. ESMERALDA - DAY

One of the men catches a full burst and is knocked over the side. The other fires from his hiding place.

Sawaya and Shannon make it to the top of the ladder and dive in opposite directions just as the man fires at them. The man sees someone and shoots. He smiles when he sees Shannon fall, blood splattered on his shirt. He takes aim at Shannon's head. Then he hears something to his right. He aims for the top of the ladder just as Carlos' head comes into view. Sawaya and Shannon both see Carlos.

Sawaya jumps to his feet and the man swings the weapon toward him. Behind the man, Shannon struggles up, grabs a marlin spike from a rack and throws it at the man. The heavy spike hits the man in the side. He SCREAMS and turns to fire at Shannon. Just as he squeezes the trigger, Sawaya hurls a long butcher knife. Too late. The gun goes off.

The man drops the gun and clutches desperately at the knife sticking out of his neck. It's useless. He sinks to his knees and topples over. Sawaya and Giles rush to Shannon.

INT. KURE MARU - DAY

Cody swims in the lead down the twisted remains of a ladder when Maria's tank becomes snagged. She struggles to free herself. She looks up to see Cody is unaware of her problem and is swimming away. She renews her struggle, but can't free herself. Desperately, she looks around, then eyes her wedding ring and begins to tap it on the tank. Cody hears the signal, turns and sees she is in trouble. He races back to her.

Cody is just getting her free when Sangrini and Andrew swim around the corner. There is no escape. Cody signals his surrender as the two men approach with raised spearguns. Sangrini doesn't waste any time. The ship is beginning to move every now and then. He motions for them to lead the way.

EXT. KURE MARU AND THE TWO BOATS - DAY

A huge black cloud moves across the face of the sun.

INT. KURE MARU - DAY

Just before they enter the cargo hold, the beam of light that led Maria to discover the air pocket, disappears. They swim down toward the crates. Andrew sees some gold on the deck and starts for it, but Sangrini holds him back. He motions for Andrew to watch Cody and Maria. He swims down and passes the gold over to Colonel Ono's staff car.

Sangrini reaches through the passenger window and opens the glove compartment and takes out a pouch. He unwraps several layers of oil cloth, revealing a handful of huge, magnificent diamonds. He puts them in a small canvas bag and ties it to his belt, then swims back to the others.

Andrew guards Cody and Maria as they place ingots into a burlap bag. As Sangrini approaches, he notices that Andrew is acting strangely. Andrew drops a bag of ingots and begins to struggle with his tank. Cody and Maria watch curiously. As Andrew rids himself of his tank he swims at Maria. She realizes what he's up to and tries to back away. Cody goes after Andrew.

Andrew is just about to grab Maria when Cody gets him around the neck. Andrew flips Cody away from him. Cody comes back at Andrew when Sangrini hits him with the butt of his speargun between the shoulder blades. Maria is not match for Andrew. He takes her tank and greedily sticks the mouthpiece between his lips, leaving Maria to drown.

From out of nowhere, Phillip hits Andrew from behind. Sangrini stares in disbelief as Phillip and Andrew twist and turn in a deadly struggle. Sangrini aims his speargun, but can't fire for fear of hitting Andrew.

Cody swims painfully slow down to Maria, who is slipping into unconsciousness as she sinks to the deck below. He grabs her around the waist and inserts his mouthpiece between her lips. She jerks as she takes her first breath. He shares his air with her as they swim up.

EXT. ESMERALDA - DAY

The Esmeralda and Vesuvius crash against each other in the boiling sea. Sawaya watches the water anxiously.

INT. ESMERALDA ENGINE ROOM - DAY

Giles works frantically to get the engine started as he sloshes in knee-deep water.

INT. ESMERALDA WHEELHOUSE - DAY

Carlos watches the Kure Maru. The dark sky is lit by lightning and the CLAP OF THUNDER is instantaneous. Then the rain comes in a BLINDING TORRENT. Sawaya looks toward the Kure Maru as lightning streaks across the sky. He sees Maria standing on the bow. Then she jumps into the sea. Sawaya runs over to the hatch and shouts down to Giles:

SAWAYA

Get up here! I need your help!

Sawaya goes over to the railing and is joined by Giles, who has to shout to be heard:

GILES

What!

SAWAYA

Help me!

Sawaya desperately tries to get a rope around his hips.

GILES

What do you think you're doing!

SAWAYA

Maria, she's out there! She'll never make it!

Help me with this!

Giles hits him behind the ear and eases him to the deck. Without hesitation, he ties one end of the rope to the railing and the other around his waist. He looks down at Sawaya and smiles.

GILES

I was the all-state champ; not you!

He leaps into the frothy water and swims away.

INT. KURE MARU CARGO HOLD - DAY

Cody swims down and sees Sangrini floating just above Phillip and Andrew, who are still going at each other. Andrew is finally able to kick himself free of Phillip. Sangrini aims the speargun at Phillip, but stops when Andrew renews the attack.

The ship is MOVING. Cargo shifts and starts to break away and tumble down.

Phillip backs up against a bulkhead and waits as Andrew comes at him with a knife. Above them, Cody knocks a huge crate lose and it begins to fall.  Phillip looks past Andrew and sees the falling crate, which rips away other crates and the resulting avalanche tumbles toward them. At the last moment, Phillip pushes away and moves to the side, just as the crates slam into Andrew. Phillip disappears in a cloud of silt.

Cody swims around a crate of explosives and discovers the head and right arm of Andrew sticking out from behind the crates. Cody doesn't see Sangrini come up behind him. Sangrini brings up the speargun and is just about to pull the trigger when Phillip swims out between him and Cody. The spear hits Phillip in the back. Cody turns to see Phillip's body. Then he sees Sangrini and explodes up after him.

Sangrini looks around desperately for a weapon. He sees Andrew's speargun laying on a crate and races for it as Cody pulls himself along the crates. As he swims past Andrew's body, he rips the knife from his dead fingers.

EXT. ESMERALDA - DAY

Sawaya and Carlos help the exhausted Giles and Maria aboard. Giles collapses on the deck. He struggles for air, then gasps:

GILES

All-state swim champ comes through...

SAWAYA

That was 20 years ago!

MARIA

You won't hear any complaints from me!

They look up when they hear a LOUD GRINDING SOUND. The Kure Maru breaks away from the reef and drifts toward deeper waters. Then they hear another SOUND.

A SIREN!

They turn to see a Navy destroyer coming around the island.

INT. MOTOR WHALEBOAT - DAY

A U.S. Sailor puts blankets over them and the COXSWAIN pulls away from the Esmeralda.

NAVY COXSWAIN

Soon as we get you aboard the Mahan, we'll get a tow line back to her, sir!

INT. KURE MARU - DAY

Sangrini is backed up against a bulkhead. He waits for Cody. He sees something to his left, up in the silt. He moves to his right and backs up against the crates that clog the door between the two cargo holds. He peers through the silt. Then a dim figure of a man appears in front of him. He aims the speargun.

INT. CARGO HOLD NUMBER TWO - DAY

The ship SHAKES VIOLENTLY.

A CHAIN SNAPS.

A LOG SHOOTS STRAIGHT UP and CRASHES into the bulkhead.

Another log BREAKS FREE and SHOOTS UP.

This one hits the open door and PLOWS through the debris, crushing Sangrini's body into the crates in front of him. Above Sangrini's lifeless body the silt clears and Phillip's body comes into view. Cody is nowhere to be seen.

Sangrini's hand seems determined to carry out the last will of its owner as the fingers TIGHTEN and the speargun FIRES. The spear sinks deep into an ammunition crate.

EXT. DESTROYER - DAY

Sawaya and Maria stand on the bridge as they watch sailors in the whaleboat towing the Esmeralda toward the destroyer. They hear the UNDERWATER EXPLOSION in the Kure Maru.

The force of the explosion pushes the Kure Maru high out of the water. They can see the gaping hole where the Number Two Hold used to be. The ship breaks in half and sinks to her grave for the final time. Giles comes over to them. Sawaya touches her arm.

SAWAYA

It was never supposed to go this far.

LOOKOUT'S VOICE

Commander!

The LOOKOUT points to where the Kure Maru had been only a moment before. The water is BOILING, then something SHOOTS out of the water, FLIES into the air, then CRASHES back with a SPLASH.

THEN IT HAPPENS AGAIN!

AND AGAIN!

SAWAYA

(realization)

The logs!

Sawaya peers through binoculars. Another log shoots skyward. He looks HARD, then a trace of a smile.

SAWAYA (CONT'D)

I don't believe it.

MARIA

What?

Sawaya lowers the binoculars and looks at her in disbelief and wonder.

SAWAYA

It's Steve.

She GASPS. He hands her the binoculars and she searches the water. Cody clings to one of the logs as the whaleboat heads over to him. He's hauled into the boat. Maria lowers the binoculars. She looks down at Carlos clinging to her side. He slips his hand in hers.

A YOUNG SAILOR sticks his head out of the bridge door.

MAHAN SAILOR

Message, sir. From Subic.

Sawaya takes the message and reads it. He turns to Carlos.

SAWAYA

They've found your brother. He's all right.

Carlos smiles through tears as he hugs Maria. Behind Sawaya the SHIP'S CAPTAIN comes out on the bridge wing with them.

MAHAN CAPTAIN

Well, commander, it appears we have us a  successful mission.

Sawaya looks at Maria and Carlos.

SAWAYA

But at what price?

The Captain follows Sawaya's gaze to Maria and Carlos.

MAHAN CAPTAIN

Too bad about her husband. What'll she do, now?

Sawaya looks out to the whaleboat, where he can see Cody standing in the bow.

SAWAYA

Oh, she'll be all right.

The Lookout points toward the Esmeralda.

LOOKOUT

Captain, something's happening!

MAHAN CAPTAIN

Now what?

They watch as two sailors who were left on the Esmeralda jump into the water as the whaleboat turns to pick them up.

SAWAYA

It looks like the old gal is about to give up the ghost.

MAHAN CAPTAIN

That about cuts it! Now we've got nothing!

As they watch, the Esmeralda slowly ROLLS OVER and, with one last belch of smoke, goes under.

INT. WHALEBOAT - DAY

Cody stands up as the boat approaches the destroyer. The Coxswain turns to him.

COXSWAIN

Looks like there isn't much left.

CODY

It all depends on how you look at it.

As the CAMERA PULLS BACK reveal the canvass bag that Sangrini had. It is now tied to Cody's belt. His hand touches it reassuringly. The boat pulls up next to the destroyer and he waves up to Maria.

ENDING CREDITS

FADE OUT