LOST HORIZON Screenplay by Robert Riskin based on the novel by James Hilton Shooting Draft, 1937 Columbia Pictures FADE IN: Over the titles we see SUPERIMPOSED the snow-capped mountains leading to Shangri-La. CLOSE-UP of an impressive-looking book. The covers open and the pages turn. The first page reads: In these days of wars and rumors of wars - haven't you ever dreamed of a place where there was peace and security, where living was not a struggle but a lasting delight? THE SECOND PAGE READS: Of course you have. So has every man since Time began. Always the same dream. Sometimes he calls it Utopia - sometimes the Fountain of Youth - sometimes merely "that little chicken farm." THE THIRD PAGE READS: One man had such a dream and saw it come true. He was Robert Conway - England's "Man of the East" - soldier, diplomat, public hero— THE FOURTH PAGE READS: Our story starts in the war-torn Chinese city of Baskul, where Robert Conway has been sent to evacuate ninety white people before they are butchered in a local revolution. The fifth and final page reads: Baskul - the night of March 10, 1935. DISSOLVE TO: EXT. BASKUL FLYING FIELD - NIGHT 1. LONG SHOT The field is aflare with floodlights - on one side is an office building - on the other are hangars. The whole field is filled with Chinese refugees running around wildly. An Army transport is in front of the office building, motors going. 2. REVERSE SHOT Showing in the distance, probably several miles away, the effect of a burning city, which is Baskul. Over the shot we hear the steady boom-boom of gunfire. In the f.g., we see the silhouetted figures of Chinese running away from Baskul and toward the Camera, their personal packs on their backs. MED. CLOSE SHOT Toward office building. Conway comes out of the building, followed by a small group of white people with frightened faces. They have to fight their way through a horde of milling Chinese. 4. MEDIUM SHOT As Conway and group finally reach the plane where Conway forces the white people in. In this he is aided by his brother, George, a young and vigorous Englishman. The pilot sticks his head out of the cockpit. PILOT Conway, we can't take more than seven! Conway pulls a passenger out and gives the pilot a signal to start. CONWAY (to passenger) All right. I'm sorry. There will be another plane in a minute. All right - go on. 5. LONG SHOT Motors roar, and the plane starts to move, scattering those of the Chinese who were unfortunately too close to the ship. Conway and George rush back into the office building. INT. LARGE OFFICE ROOM 6. FULL SHOT There are about thirty white refugees, men, women and several children. They all lift their panicky faces to Conway and George as they enter. A barrage of questions are flung at them. AD-LIB Are there any more planes? Do you think the bandits will come here? Please take my wife next, Mr. Conway! CONWAY Wait, wait! Everybody, wait! There are plenty of planes coming. Now everybody have patience. Everything will be all right. He crosses to a back room. GEORGE You have nothing to worry about. Leave everything to my brother. INT. RADIO ROOM 7. MEDIUM SHOT As Conway enters to speak to operator. RADIO OPERATOR Yes, sir - with seven passengers aboard. RADIO SPEAKER Seven passengers? Good. CONWAY Get me Shanghai. OPERATOR I'm talking to them now, sir. CONWAY Hello? Hello? RADIO SPEAKER Hello. Hello. CONWAY (into mike) Conway speaking. Is Colonel Marsh there? COLONEL'S VOICE Right here, Conway. Go ahead. 8. CLOSE SHOT As Conway continues into mike. CONWAY Colonel, I need more planes. I've still about twenty people to get out. Where are those planes you promised us? COLONEL'S VOICE We sent everything we could find, Conway. CONWAY They better get here soon or I can't be responsible— 9. WIDER ANGLE As George rushes in. GEORGE Bob! I think I hear motors! CONWAY (listening - then into mike) Colonel, wait a minute, they may be here now! (to George) Say George, get down on that field and guide those planes in when they get here. GEORGE Yes. He starts for the door. CONWAY And be sure that none of the natives get in. GEORGE (exiting) Yes. CONWAY Hello? Colonel? COLONEL'S VOICE Hello, Conway. Yes? CONWAY Thanks - and take care of that liver of yours. COLONEL'S VOICE Oh, ho - my word! INT. OFFICE ROOM 10. FULL SHOT As Conway enters. CONWAY All right, get ready everybody. The planes are here. The people crowd around him pleading for priority. CONWAY One at a time. Children first. Where are they? Come on now, and stand over here. A woman pushes some children forward. CONWAY Where's the mother? PRIEST (standing nearby) They're orphans, Mr. Conway. CONWAY I see. All right. (directing people aside - pulling out an old lady) Well, you come - right over here - and you, and you— (looking off scene) —come on— OLD MAN What about us, Mr. Conway? CONWAY Gentlemen, please wait your turn. 11. CLOSE SHOT A girl slouched in a corner. We meet Gloria Stone, a surly, wan-looking prostitute. GLORIA You'd better take some of those squealing men with you first. They might faint on you. I'll wait. CLOSE SHOT - CONWAY Something of a smile crosses his face. CONWAY Just as you say! Just then, a terrific explosion is heard in the distance. 13. FULL SHOT All the lights go out. Everybody starts screaming. CONWAY (sharply) Whoa! Don't lose your heads now - I'll see what it is. He dashes out. EXT. OFFICE BUILDING CLOSE SHOT AT DOOR Conway rushing out, meets George coming back. GEORGE The power house - they've blown it up! The planes can't land without lights. CONWAY (thinking fast) Come on! We'll burn the hangar. That will make light for them! He grabs a lantern and dashes off. 15. MEDIUM SHOT As they run through the screaming mob toward the hangar. INTERIOR HANGAR 16. FULL SHOT It is filled with Chinese refugees clinging to their household goods. Conway and George enter. Conway speaks to them in Chinese, ordering them out. Some hesitate, and they have to push the terror-stricken waiting coolies out. When they have all left, Conway opens the spigots of several gasoline tanks, waits for the fuel to spill on the ground, then tosses a lantern on the fuel, igniting a blaze. At the same moment, he and George dash for the door. EXTERIOR FIELD 17. LONG SHOT Conway and George rush out of hangar. When they are at a fairly safe distance, the building bursts into flames. DISSOLVE TO: 18. LONG SHOT Against a background of the burning hangar, a plane is just leaving the ground, as another one is landing. 19. MEDIUM SHOT Of Conway, signalling. CONWAY All right, go ahead! (to George) We go on to the next plane. Bring out any people that are left. GEORGE Right, Bob. REVERSE ANGLE - LONG SHOT Shooting toward the burning city of Baskul in the distance. We see the bandits coming, flashing bayonets, in pursuit of screaming refugees. 21. MED. SHOT FRONT OF OFFICE BUILDING Conway emerges, followed by Gloria, and an American, Barnard. CAMERA FOLLOWS THEM to the ship just as the pilot, Fenner, is climbing down from cockpit. CONWAY Hello, Fenner. FENNER (broad grin) Hello, Conway. Having a little trouble? CONWAY You never mind me. Get this gadget off the ground. George is pushing off Chinese. GEORGE Bob, these are all that are left. CONWAY (to George) Come on! Quick! This way. MED. SHOT AT PLANE When Conway and others approach, George helps Gloria Stone up, while Conway faces the mob, punching at those who try to wedge their way forward. Finally one of them manages to get his foot on the step, and Conway pushes him violently. CLOSE SHOT - MAN Who staggers back and falls, sprawling. As he hits the ground, he yells: MAN You can't leave me here, you blighter.[2] I'm a British subject! We meet Alexander P. Lovett. 24. MEDIUM SHOT Conway looks his surprise and lifts him off the ground. CLOSE SHOT - A CHINAMAN Glaring off toward Conway, picks up a board and starts toward Conway. 26. MED. CLOSE SHOT ENTRANCE TO SHIP George emerges in time to see the Chinese lift the board and about to clout Conway on the head. George moves quickly, puts out his left hand, wards off the blow and with his right he punches the Chinese, who reels out of the scene. GEORGE Look out, Bob! 27. MEDIUM SHOT A shadowy figure materializes in the cockpit, and clubs Fenner from behind. He shoves Fenner aside and takes his place. 28. MEDIUM SHOT Conway pushes George up and starts to mount himself. He looks off - and what he sees startles him. CONWAY (yells off) All right, Fenner! Go ahead! 29. LONG SHOT Of what Conway sees. Several trucks loaded with bandits - in makeshift uniforms - come tearing up the road - come to a stop. Some fire toward plane - others are setting up machine guns. Droves of refugees scramble to cover. INT. PLANE 30. FULL SHOT Already present are Barnard, an American; Gloria Stone, the prostitute; and Lovett, whom we saw dressed as a Chinese. Conway slams the door shut - looks off - then cries: CONWAY Get down on the floor, everybody. Go ahead, Fenner! They all fall on their faces. GEORGE Fenner, let's go! MED. CLOSE SHOT Of the new pilot setting the controls and lifting the plane into flight. EXT. FIELD 32. LONG SHOT As the plane swings around - taxies crazily - and leaves the ground, accompanied by gunfire of the bandits. INT. PLANE 33. FULL SHOT The occupants are still on the floor. Conway rises and glances out of a window, warily. CONWAY (mumbling) Well, I guess we're out of range. (to others) Everybody all right? There are murmurs of "Yes" - "I'm all right" - as they raise themselves. GEORGE Whew! That was close. 34. MEDIUM SHOT Conway starts for the back seat and suddenly sees Lovett. CONWAY Where did you come from? LOVETT I'm Alexander P. Lovett, sir. CONWAY Why aren't you registered through our office? GEORGE (chiming in) It would serve you right if you were left behind. LOVETT (high-pitched voice) How could I know that a war was going to break out right over my head! (a grave injustice) Right over my head. Oh, my word! I tell you, those Chinese were pouncing on me from every direction. I had to get into these ridiculous clothes in order to escape. CONWAY Where were you hiding? LOVETT Hiding? Oh, no. Hunting - I was in the interior - hunting fossils. This morning I looked up suddenly— CONWAY I know - and a war broke out right over your head. GEORGE The next time you're in wild country like this, keep in touch with the British Consul. CONWAY Aha - very good, Freshie.[3] Very good. You'd better put his name on the list and make out a report later. He proceeds to the back seat. Barnard, the American, who is in front of Lovett, leans over toward him. MED. CLOSE SHOT - THE TWO Barnard and Lovett. BARNARD I beg your pardon, brother. What did you say you were hunting? LOVETT Fossils. BARNARD Fossils, huh? LOVETT I'm a paleontologist. BARNARD (blankly) A what? LOVETT A paleontologist. BARNARD Oh, I see. Lovett produces a small box clutched under his arm. LOVETT I have here a discovery that will startle the world. It's the vertebrae from the lumbar of a Megatherium,[4] found in Asia. BARNARD Well, what do you know about that! LOVETT Found in Asia! BARNARD Uh-huh. LOVETT When I get home I shall probably be knighted for it. BARNARD Knighted! You don't say. Do you mind if I take a look at it? LOVETT (proudly) Not at all. He lifts the lid and Barnard peeks inside. INSERT: OF BOX Wrapped carefully in absorbent cotton is something that resembles a dry chicken bone. BACK TO SCENE: Barnard reaches for the box, but Lovett pulls it away from him. BARNARD Sorry. LOVETT This is the only thing I was able to save when those heathens surrounded me. BARNARD (he is allowed to take it out and examine it - unimpressed) Uh-huh. LOVETT You see, from this vertebrae I shall be able to reconstruct the entire skeleton. BARNARD Wait a minute, you expect to be knighted for finding that soupbone? LOVETT It was the vertebrae of a Megatherium - found in Asia. BARNARD Yeah, I remember. You said that before. LOVETT Sir Henry Derwent was knighted, and he never got beyond the mesozoic era. Barnard stares at Lovett unbelievingly. BARNARD Ah, poor fellow. Lovett glares at him resentfully, and snaps the lid shut on his box. LOVETT Yes, it just shows— (taking offense) I don't know why I'm talking to you. I don't know you. Who are you? BARNARD (turns away) Okay, brother. LOVETT Don't call me brother. BARNARD Okay, sister. (chuckles to himself) No offense. No offense! 36. CLOSE SHOT - GLORIA AND BARNARD Gloria sits slumped in her seat, looking glumly out. Barnard glances at her curiously. Finally he makes a friendly overture. BARNARD Cigarette? Gloria turns her head, surveys Barnard coldly, and without responding, turns back. BARNARD I say, will you have a cigarette? GLORIA No. BARNARD (unabashed) Say, you're an American, aren't you? GLORIA (irascibly) Say, listen - will you go and annoy the rest of your playmates? Let me alone! He shrugs his shoulders and slides back into his seat. 37. FULL SHOT All is silent for a moment. Conway is writing on a small pad - which he rests on an uplifted knee. George is rummaging through a closet - rear of the cabin. 38. MED. SHOT - GEORGE AND CONWAY Conway still writes, undisturbed. George reaches into the closet and emerges with a bottle of whiskey. His face lights up. GEORGE (holds up bottle) Hello! Look what I found! He crosses to Conway. GEORGE Just what I needed too. CONWAY (looks up - smiling) You? GEORGE Just this once, Bob. I feel like celebrating. Just think of it, Bob - a cruiser sent to Shanghai just to take you back to England. You know what it means. (hands him cup) Here you are. Don't bother about those cables now. I want you to drink with me. (holds his cup up) Gentlemen, I give you Robert Conway - England's new Foreign Secretary. Conway watches him, amused. George gulps down his drink. CONWAY (after a slight hesitation - downing his drink) Hurray! GEORGE How I'm going to bask in reflected glory! (dreamily) People are going to point to me and say, "There goes George Conway - brother of the Foreign Secretary." CONWAY Don't talk nonsense. Give me the bottle. Conway takes the bottle from him and pours himself a second drink. GEORGE That's why they're sending for you, Bob. With all these foreign entanglements, it was bound to happen. They need you. Conway, with a poured drink in hand, laughs. GEORGE All right, you can laugh if you want to. But who else can they get? Who else is there in all of England half the fighter, half the diplomat, who has half your knowledge of the foreign situation? They can't stop you now, Bob. Conway moodily pours himself a third. He downs the drink as we DISSOLVE TO: INT. PLANE CLOSE SHOT OF CONWAY We find Conway, asleep in his seat, his head on his hands. George approaches and tenderly spreads a jacket over his shoulders. Conway stirs, opens an eye. CONWAY (drunkenly) Hello, Freshie. Did you make that report out yet? GEORGE Yes, Bob. CONWAY Did you say we saved ninety white people? GEORGE Yes. CONWAY Hurray for us. Did you say that we left ten thousand natives down there to be annihilated? No, you wouldn't say that. They don't count. GEORGE You'd better try to get some sleep, Bob. CONWAY Just you wait until I'm Foreign Secretary. Can't you just see me, Freshie, with all those other shrewd, little Foreign Secretaries? (confidentially - screws up face) You see, the trick is to see who can out-talk the other. Everybody wants something for nothing, and if you can't get it with smooth talk, you send an army in. I'm going to fool them, Freshie. I'm not going to have an army. I'm going to disband mine. I'm going to sink my battleships - I'm going to destroy every piece of warcraft. Then when the enemy approaches we'll say, "Come in, gentlemen - what can we do for you?" So then the poor enemy soldiers will stop and think. And what will they think, Freshie? They'll think to themselves - "Something's wrong here. We've been duped. This is not according to form. These people seem to be quite friendly, and why should we shoot them?" Then they'll lay down their arms. You see how simple the whole thing is? Centuries of tradition kicked right in the pants— (pause - drily) —and I'll be slapped straight into the nearest insane asylum. He starts to pour himself another drink. GEORGE You'd better not drink any more, Bob. You're not talking sense. Conway downs the drink, and then chuckles cynically. CONWAY Don't worry, George. Nothing's going to happen. I'll fall right into line. I'll be the good little boy that everybody wants me to be. I'll be the best little Foreign Secretary we ever had, just because I haven't the nerve to be anything else. GEORGE Do try to sleep, Bob. CONWAY Huh? Oh, sure, Freshie. Good thing, sleep. He grunts and squirms. George tucks him in. CONWAY Did you ever notice the sunrise in China, George? Ah, you should. It's beautiful. He gets settled. George relaxes and, leaning back, shuts his eyes. LONG SHOT OF CABIN It is quiet. All are asleep. CAMERA MOVES FORWARD SLOWLY until it reaches the glass panel leading to the cockpit. The pilot's face turns. Instead of Fenner we see a strange, Mongolian face - with sharp, piercing eyes. A half-smile plays across his mouth. EXT. SHOT OF PLANE LONG SHOT OF PLANE Flying at high speed against a moonlit sky. We stay on the shot until it vanishes, a mere speck, over the horizon. DISSOLVE TO: EXT. SHOT - DAWN 42. LONG SHOT The morning sun peeks over a mountain top. From the same direction, as if arriving with the sun, the ship looms up, and comes roaring toward us. INT. PLANE 43. FULL SHOT All are asleep except Lovett, who fidgets on his seat. Then Barnard stirs - opens his eyes - and stretches. As he does so, he sees that Lovett is awake. BARNARD Good morning, Lovey. LOVETT I beg your pardon. BARNARD I say, good morning, Lovey. LOVETT Good morning— (CATCHES HIMSELF) Look here, young man. BARNARD Eh? LOVETT I didn't care for 'sister' last night, and I don't like 'Lovey' this morning. My name is Lovett - Alexander, P. BARNARD I see. LOVETT I see. BARNARD Well, it's a good morning, anyway. LOVETT I'm never conversational before I coffee. Barnard glances out of the window, looks around outside thoughtfully. BARNARD Wait a minute. Is it a good morning? Say, we're supposed to be traveling east, aren't we? LOVETT Why, of course. Yes. BARNARD Well, it looks to me as if we're traveling west. LOVETT That's ridiculous. BARNARD Is it? LOVETT It certainly is. BARNARD Look here— LOVETT Any child knows how to tell direction. Any child. I don't care where the child is - in the air, on the earth, or in the sea. If you face the rising sun, your right hand is the north, and your left hand is the south— BARNARD I always get it twisted because I'm left-handed. LOVETT Oh, really? BARNARD Yes. LOVETT Well, you just reverse it. Your left hand is— (tries to explain - gets confused and irritated) What difference does it make what 'hand' you are? The north is the north! BARNARD Uh-huh. All I know is - the sun rises in the east, and we're going away from it. LOVETT Now you're irritating and absurd! CLOSE SHOT - LOVETT As he sulks by himself, looks around - locates the sun in back of him - smiles - satisfied he's right, throws a condescending glance over at Barnard - then suddenly his face clouds - the whole thing dawns on him. LOVETT (jumps up shrieking) Oh, my word - of course - yes. Boy! Boy, we're traveling in the wrong direction! Wake up! We're going in the wrong direction! 45. FULL SHOT Conway is still asleep. GEORGE (concerned for Conway) Couldn't you arrange to make a little less noise? LOVETT I tell you, we're going west, and Shanghai is east of here! GEORGE Be quiet! Fenner's the best pilot in China. He knows what he's doing. LOVETT (not quite reassured) It's Fenner. BARNARD He might have lost his way. LOVETT Of course. That's what I told them last night. You can't expect a man to sail around in the dark.[5] During this George has been looking around - he rises. GEORGE All right, all right. Calm yourself. I'll talk to Fenner. He crosses to panel leading to cockpit, CAMERA FOLLOWING HIM. When he gets there he knocks on the window. GEORGE Fenner! I - I say— George knocks again. From the cockpit side - the small shade suddenly snaps up - and George finds himself staring into the face of the mysterious pilot. He takes an instinctive step backward. The pilot turns his head. CAMERA ANGLE WIDENS as George keeps backing up until he gets to Conway. George turns to Conway and shakes his shoulder. GEORGE Bob! Bob! Conway stirs in his sleep, slowly opens his eyes, yawns and stretches. Throughout it, George speaks. GEORGE Wake up! Something's happened! It isn't Fenner in the cockpit! Conway looks at him, glances off toward the others, and back at George. CONWAY (dismissing him with a gesture) Oh, stop it! GEORGE The bloke up there looks a Chinese, or a Mongolian, or something. BARNARD We're nowhere near Shanghai. We're going in the opposite direction. This interests Conway and he looks out of the window. CONWAY We're over the desert. That's funny. Then rising, he crosses to cockpit. The others watch him expectantly. 46. GROUP SHOT - AROUND COCKPIT Conway pounds on the panel. The face of the pilot appears in sight. Conway tries to ask him something in Chinese. The pilot glares at them for a second, then a gun is shoved out at them. Instinctively they back away. CONWAY Charming chap. BARNARD (not being funny) Nice puss to meet in a dark alley. The ship lurches - and they are thrown off balance. The panel has been snapped shut. CONWAY Well, that's that, I guess. BARNARD Wonder what's happened to Fenner. LOVETT Yes. And who is he ? How'd he get there? BARNARD Do you suppose we stopped someplace during the night and changed pilots? CONWAY No. That's not possible! If we had landed, we all would have been awakened. LOVETT Of course. We never left the air. I know - I didn't sleep the whole night long. CONWAY (with finality) That fellow got on at Baskul. LOVETT What's he doing? Where's he taking us? He may be a maniac for all we know. George, who has disappeared during the above, now returns, with a monkey wrench in his hand. Conway stops him. CONWAY George, what are you going to do? GEORGE I'm going to drag him out and force him to tell us what his game is. LOVETT Good. CONWAY What if he refuses? LOVETT We'll smash his face in. That's what we'll do. CONWAY Brilliant! (a sweeping gesture) Can anyone here fly a plane? There is a general chorus of "no—not I," etc. CONWAY (takes wrench from George's hand) Well, George, that's no good. Conway throws the monkey wrench into a corner. CONWAY I guess we're in for it. LOVETT In for what? CONWAY I don't know. He must have had some purpose in taking the plane away from Fenner. (starts for his seat) When he lands, we'll find out. LOVETT You mean to tell me you're not going to do anything until we land? CONWAY What do you suggest? LOVETT Why, you - you— Look here - he may dash us to pieces! CONWAY It might afford you a great deal of relief. (sitting) Now gentlemen, I'm going back to sleep. Oh, and I was having such a peaceful dream. (curling up) As soon as he lands, let me know. He shuts his eyes and leans back. The others watch him for a second - and wander back to their seats. 47. CLOSE SHOT - GLORIA AND BARNARD Gloria is apparently indifferent to their predicament. As Barnard watches her, a little bitter smile plays around her mouth. CLOSE SHOT - GEORGE He stares out of the window and is suddenly startled. EXT. SHOT OF PLANE 49. LONG SHOT Of the plane with its nose turned downward in a sharp descent. INT. CABIN OF PLANE 50. MEDIUM SHOT George is on his feet. GEORGE (excited) We're heading down! We're going to land! Everyone looks out. George rushes to Conway and nudges him. GEORGE (breathlessly) Bob, we're landing! (pointing out) Bob, we're coming to a village! Conway sits up and looks out. EXT. SHOT OF PLANE 51. MEDIUM SHOT Plane starting toward ground. All we can see are mountain tops. INT. PLANE 52. MEDIUM SHOT They all stare out of the windows. Conway peers intently. DISSOLVE TO: EXT. SHOT FROM AIRPLANE 53. LONG SHOT From angle in cabin of plane. Through the window, directly below we see a large open space at the foot of the hills. The plane is headed for it. 54. LONG SHOT We see a swarm of strange-looking natives, scantily attired, but bearing bayonets, running toward the plane. INT. PLANE MEDIUM CLOSE SHOT Of George and Conway, as the ship hits the ground, bouncing and swaying perilously. EXT. MOUNTAINOUS COUNTRY 56. MEDIUM SHOT As the plane taxies across the uninhabited space. INTERIOR PLANE 57. MED. CLOSE SHOT AT DOOR Conway and George ready to get out. As Conway turns to open the door, he looks off and is startled by something he sees. George follows his gaze, and a bewildered expression comes into his eyes, too. EXTERIOR OF PLANE 58. LONG SHOT Shooting through door. The strange-looking natives have surrounded the plane and are closing in. INTERIOR PLANE 59. MEDIUM SHOT Conway and George both instinctively wheel around toward the opposite side. But from that direction too, a horde of natives dash toward them. Conway hesitates a second, and like a flash springs for the door. But he stops again, as he opens the door. EXTERIOR OF PLANE 60. MEDIUM SHOT To include door of plane. Conway finds himself staring into the threatening mouths of half a dozen rifles, and quickly shuts the door. GEORGE What are these people? CONWAY I don't know. I can't get the dialect. EXTERIOR OF PLANE 61. MEDIUM SHOT THROUGH WINDOW We see the pilot and several natives in single file as they come toward the plane, buckets in hand. In b.g., one of them lowers a bucket into a well in the ground. GEORGE Look - they're loading up with gasoline. EXTERIOR OF PLANE 62. SEVERAL SHOTS The gas is being loaded. Natives on horseback dash back and forth shouting and signalling. Camels can be glimpsed among the horses. There is tremendous disorder and commotion. 63. LONG SHOT The ship leaves the ground. The natives stand around, curiously watching. INTERIOR PLANE 64. MEDIUM SHOT Conway is pacing. The occupants sit by their open windows. CONWAY Imagine having all that fuel there, waiting for us! (he sits down) George, something tells me our journey is just beginning. LOVETT Where are we going? Huh? BARNARD (pointing) If you ask me, we're heading straight for those mountains. EXTERIOR SHOT 65. LONG SHOT We see the plane against the sky. In the b.g., there is nothing but snow-covered mountains. DISSOLVE TO: INSERT: A sign reading "Shanghai Municipal Airport." INT. AIRPORT MEDIUM CLOSE SHOT A Chinese officer is on the phone. CHINESE OFFICER A Douglas plane from Baskul with Conway and four others aboard are missing. Unreported between here and Baskul. QUICK SHOTS OF: A switchboard operator besieged by calls. A telegraph secretary furiously typing. Newspapers being run off a press. INT. FOREIGN OFFICE 67. CLOSE SHOT Of a high official of the British Foreign Office. HIGH OFFICIAL (holding forth to his secretary) Make it very emphatic that His Majesty's Government will hold the Chinese government and all Chinese governors of Chinese provinces responsible for the complete safety of Robert Conway. THE CAMERA PULLS BACK to reveal other foreign department officials and functionaries arriving in the midst of his speech. HIGH OFFICIAL Good morning, gentlemen. FUNCTIONARIES (ad-libbing) Good morning, etc. OFFICIAL No news yet, sir? HIGH OFFICIAL It's fantastic. The plane couldn't disappear into thin air. (turning to secretary of the group) And cable Lord Gainsford at Shanghai. Leave no stone unturned to find Conway. (turning back to foreign officials) And Robertson? ROBERTSON Yes, sir? HIGH OFFICIAL Better get a postponement of the Far East conference. We can't afford to meet those nations without Conway. INT. PLANE 68. MED. SHOT The occupants are hunched up in the corner of their seats. What little clothes they have, and what few blankets, are bundled around them. All the windows are shut. INSERT: ALTOMETER Registering a height of 10,000 feet. 69. FULL SHOT There is silence for a moment before Barnard speaks. BARNARD It can't be kidnapping. They wouldn't be taking us so far on such a dangerous trip. No sense to it. No one responds to his speculation and he lapses into silence. 70. MED. SHOT To include George, Conway and Lovett. GEORGE What do you make of it, Bob? You must have some idea? Conway shrugs. CONWAY Huh? I give it up. But this not knowing where you're going is exciting anyway. LOVETT Well, Mr. Conway, for a man who is supposed to be a leader, your do- nothing attitude is very disappointing. GEORGE What do you want him to do? LOVETT I don't know. I'm a paleontologist, not a Foreign Secretary. Lovett slips back into his corner and pulls his coat over his face. INSERT: OF ALTOMETER Registering above 10,000 feet. We STAY on it as it climbs and climbs to 15,000 feet. EXT. MOUNTAINOUS COUNTRY 71. SHOWING THE PLANE HIGH OVER MOUNTAIN PEAKS. DISSOLVE TO: EXT. SHOT OF PLANE - NIGHT 72. LONG SHOT Against a moonlit sky, we see a lone speck - the plane as it flies high above the mountains. It appears to be traveling through endless space. INT. PLANE 73. MED. SHOT The atmosphere is pervaded with a feeling of utter futility. The occupants are still slumped in the corners of their seats. 74. CLOSE SHOT - GLORIA AND BARNARD Gloria has a fit of coughing. She grabs her throat - as she gasps for breath. Barnard, himself feeble and exhausted, glances over at her sympathetically. 75. WIDER SHOT Including Lovett, George, and Conway. Lovett sits with his chin helplessly on his chest, his mouth ludicrously open, his eyes popping. George, his teeth clenched, struggles against a desire to sob. Conway looks at him feelingly. 76. CLOSE SHOT - GEORGE AND CONWAY Conway's eyes never leave George, who finally unable to control himself, emits a sob - and rather ashamed, slaps his hand over his mouth and turns away. CONWAY Oh George, come on. GEORGE (suddenly - tensely) It's not knowing that's so awful, Bob. Not knowing where you're going, or why, or what's waiting when you get there. George, with an effort, stifles another outbreak. CONWAY We got above that storm. INSERT: OF ALTOMETER At 20,000 feet - and while we stay on it - keeps mounting. INTERIOR CABIN 77. FULL SHOT Deathly silence. Gloria has her hands to her ears, rocking in pain. Suddenly her voice rents the air. GLORIA Oh! Oh! I can't stand it any longer! She jumps up and moves about frantically. GLORIA (screaming) Take us down! I can't stand this pain any longer! Let me out of here I say! I can't stand it any longer! She runs to one of the ship's doors and pounds on it with her fist, then tries to shove it open. A blast of frigid air throws her back. George and Conway manage to pry her off and pull her away. Sobbing pitifully, she lets Conway steer her back to her seat, where she bundles up in torturous pain. For a moment nothing is heard but her stifled moans. BARNARD Take it easy, sister. Unexpectedly the cockpit panel opens, and the pilot tosses something out in Gloria's direction. CONWAY (grabbing for it) It's oxygen! (he rigs it up for her) Now take it with your teeth. That's right - bite. GLORIA (struggling) Let me alone. CONWAY Now, now. Come on now. That's right. Now, bite. She resumes her sobbing quietly. DISSOLVE TO: EXT. PLANE 78. LONG SHOT Of the plane at twilight, fading into deepest night. INT. PLANE 79. FULL SHOT Of the cabin at night, everyone frozen in despair. All of a sudden there is a loud, sputtering noise from the outside. They all react - listen for a moment - until the noise dies completely. Now nothing is heard - not even the motor. AD-LIB (breaking the silence) What's that! What's happening? CONWAY (immediately on his feet) He must have run out of fuel. BARNARD Look! Look down there! EXT. PLANE 80. LONG SHOT The plane gradually tilting downward. INT. PLANE 81. FULL SHOT The ship sways several seconds and finally rights itself. EXT. PLANE 82. LONG SHOT Of what they see from plane. Vast snow-covered mountain peaks, with no sign of a stretch big enough to land. 83. LONG SHOT The plane sways perilously in the cross wind. INTERIOR PLANE 84. MEDIUM SHOT They are all silent - waiting prayerfully. Conway turns to the others - his voice electric with authority. CONWAY George - everybody - better get back towards the tail! He may nose her over. Into the corner, quick! George - cushions, blankets! They obey his command. EXTERIOR SHOT OF PLANE 85. LONG SHOT We see the plane nearing the ground, sailing over some smaller hills. INTERIOR PLANE 86. MED. CLOSE SHOT With Conway in front of them, the others are crouching in the corner. There are ad-libs of fearful assurances while they hand around cushions and blankets. EXTERIOR SHOT OF PLANE 87. LONG SHOT Just as the ship hits the ground for the first time. INTERIOR PLANE 88. MED. CLOSE SHOT The occupants brace themselves for the jolt. The ship hits and bounces several times and finally stops. Its nose seems to bury itself in the ground. The people are lifted high into the air where they remain, suspended for a few seconds, terror-stricken. Then, accompanied by grinding, crackling sounds, the ship flops back and falls on its side. For a moment there is stark silence - while the people do not stir. A look of relief spreads over their faces. CONWAY Everybody all right? The passengers offer dazed replies: "Okay - yeah - I think so." Meanwhile, Conway has opened the door. A swirling mass of snow greets them, so that they have to force their way out. EXTERIOR OF PLANE 89. MEDIUM SHOT George and Conway fight their way down from the plane in the blinding snow. George quickly runs around to the other side. Conway crosses to the cockpit, and clambers aboard. CLOSE SHOT IN THE COCKPIT Lit only by the dashboard light. Conway sticks his head in from the outside. His eyes which have been flashing with determination suddenly sober. CAMERA PANS OVER to pilot, who is slumped over, his chin resting on his chest. MEDIUM CLOSE SHOT George pops into view on the opposite side, just as Conway has found the pilot's gun beside him on the seat. GEORGE What is it? Has he fainted? CONWAY It looks like it. (sniffing) Smell those fumes? Conway hops up beside the pilot. George follows suit. CONWAY (handing gun to George) Here George, take the gun. Hold the lights. I'm going to search him before he comes to. (while searching) We might find something interesting. (finds something) Hello - what's this? A map! (hands it to George) He resumes his search enthusiastically. Suddenly he stops. The utter limpness of the pilot's body gives him pause. He lifts up his chin, stares into his face - pulls up his eyelid and then places a hand over his heart. He turns slowly toward George, who has been watching his brother intently. CONWAY He's dead. GEORGE Dead? George stares unbelievingly. CONWAY It must have happened the moment he hit the ground. (a pause) Let's take a look at this map. Conway holds the map under the dashboard light. He studies it painstakingly, and his tense expression changes to one of deep concern. George's eyes are glued on him. GEORGE What is it? CONWAY See that spot? GEORGE Yes. CONWAY That's where we were this morning. He had it marked. Right on the border of Tibet. Here's where civilization ends. We must be a thousand miles beyond it - just a blank on the map. GEORGE (afraid to ask) What's it mean? CONWAY It means we're in unexplored country - country nobody ever reached. George stares at him, wide-eyed, the gravity of their situation slowly penetrating his terrorized mind. Conway's thoughts are interrupted by a knock on the panel, and he looks up. 92. MED. CLOSE SHOT THROUGH GLASS PANEL We see the faces of Barnard and the others. We hear their voices inquiring - "Hey, Conway, what's happening?" - "What's up?" - "Where are we?" - "What'd you find out?" 93. CLOSE SHOT - CONWAY AND GEORGE Conway turns to George. CONWAY George, our chances of getting out of this are pretty slim. But it's up to us. (a nod toward cabin) We can't have three hysterical people on our hands. He enters the cabin through the cockpit. INT. CABIN OF PLANE 94. MEDIUM SHOT As Conway enters, he is met by a volley of questions. AD-LIB What do you say? What'd you find out? CONWAY (interrupting - cheerily) Everything's all right. The pilot won't trouble us any more. He's - he's dead. This is met by a series of exclamations. AD-LIB Dead? How did it happen? CONWAY Probably a heart attack. BARNARD What are we going to do? CONWAY Well, there's nothing we can do until the morning. 95. CLOSE SHOT Taking in George as he enters from cockpit. His terror- stricken eyes look dully before him. He stops in the doorway. CONWAY The storm will probably die down by then. My suggestion is that we better all try and get a good night's rest. 96. MEDIUM SHOT Over the shoulders of Gloria, Barnard and Lovett as they face Conway, who sits down. GEORGE (fiercely) Why don't you tell them the truth? 97. FULL SHOT They all wheel around and face George. GEORGE Why don't you tell them we're a million miles from civilization, without a chance of getting out of here alive? It's slow starvation - that's what it is. It's a slow, horrible death! When the significance of this outburst finally sinks into the chaotic minds of his listeners, they turn to Conway hopefully, certain he will refute it. But Conway looks beyond them at George. From his noncommittal silence, they realize that George's statement is the truth. They slip into their seats. The place is heavy with a fatalistic silence. George slowly crosses to his seat near Conway, avoiding his accusing eyes. Suddenly the air is rent with harsh, bitter laughter from Gloria. They all look up. GLORIA Well, that's perfect! Just perfect! What a kick I'm going to get out of this! She emits another outburst of semi-hysterical laughter. CLOSE SHOT - GROUP Favoring Gloria. The bitterness of a lifetime in her voice. GLORIA (grimly satisfied) A year ago a doctor gave me six months to live. That was a year ago! I'm already six months to the good. I'm on velvet. I haven't got a thing to lose— (SEMI-HYSTERICAL) But you! - you, the noble animals of the human race, what a kick I'm going to get out of watching you squirm for a change. (her voice cracks completely) What a kick! She flops into her seat and buries her head in her hands. For quite a while all we hear are her stifled sobs. 99. CLOSE SHOT - CONWAY AND GEORGE George throws sidelong glances at his brother, feeling his guilt. 100. FULL SHOT Shooting from front of plane, taking in entire cabin. The only sound that comes in on the tragic quiet is the low moaning of the wind outside. A feeling of doom has descended upon the five people. FADE OUT: FADE IN: 101. LONG SHOT Shooting toward the mountains which seem to imprison the valley below. The snowstorm, treacherous in its fury, seems to threaten the valley with complete obliteration. 102. MEDIUM SHOT Of the plane, tilted over on its side. It is fully covered with snow. CAMERA PANS UP TO LOVETT AND BARNARD, shivering in their blankets as they pace worriedly. INTERIOR OF PLANE 103. MEDIUM SHOT George and Conway are missing. Lovett turns from the window. LOVETT They've been gone for three hours. The others appear disinterested in this observation. LOVETT Left us here to rot. That's what they've done. Heroes of the newspapers! BARNARD All right, all right. Keep quiet. Lovett sees something through the window. EXTERIOR OF PLANE 104. MEDIUM SHOT - THROUGH WINDOW OF PLANE George and Conway are seen walking briskly toward the plane, their few clothes a scant protection against the biting wind. INTERIOR PLANE 105. FULL SHOT LOVETT Here they come! The others quickly glance up, just as Conway and George clamber aboard. Conway has a serious mien, but George is full of vigor and enthusiasm. GEORGE Hello, everybody. He holds out his hat which he has been carrying, bottom side up. GEORGE Well, we found some food. Barnard and Lovett rush to him. GEORGE No chance of our starving now. When they see the contents of his hat, their faces fall. LOVETT What is it? GEORGE Mountain grass. It's good, too. Here, have some. I've read of people lasting thirty days on this stuff. They grab handfuls. He goes on: GEORGE Listen, my brother and I have worked out a plan. If we use our heads, we should be able to keep alive for weeks, until he gets back. LOVETT & BARNARD Gets back? Where's he going? GEORGE He doesn't know. But he's starting out right away in the direction of India. Sooner or later he's bound to run into somebody - a tribe or something. BARNARD Yeah? CLOSE SHOT - CONWAY Throughout the previous scene he has been busily occupied making preparations. Out of the baggage hold he has brought some blankets and rope and has been wrapping his feet in them. As George speaks, he looks up and smiles. GEORGE Now here's the idea. We found a cave over by that small hill. After we bury the pilot, we're moving in. We can have a fire there. I shouldn't be surprised to see Bob back within a week. Conway's smile dies on his face. We get a feeling he is attempting a futile journey, and is fully aware of it. He resumes the roping of his feet - his movements mechanical. MED. CLOSE SHOT - GROUP Barnard and Lovett all attention as George speaks. Gloria, off to one side, has her eyes peeled on Conway intently. 108. CLOSE SHOT - GLORIA AND CONWAY GLORIA You haven't got a Chinaman's chance of getting out of this country alive, and you know it. Conway stares at her blankly. BARNARD Cave, eh? Where? GEORGE (pointing) Over by that hill. Barnard peers out the plane window. BARNARD Hey - look! GEORGE Look, Bob! 109. FULL SHOT They all look up and glance out. EXTERIOR OF PLANE 110. LONG SHOT THROUGH WINDOW From their angle. In the distance, just appearing over the top of a hill, we see a caravan of natives approaching. They are not close enough to distinguish who or what they are, but that they are human beings is apparent. INTERIOR PLANE 111. MEDIUM SHOT Conway takes in the unbelievable sight. We hear the exultant exclamations of the others. Barnard and Lovett start out of the plane. LOVETT (looking around) Where are they? Do you see them? BARNARD Yes! LOVETT Do you think they're cannibals? EXTERIOR OF PLANE 112. MEDIUM SHOT Where George, Lovett and Barnard wait, a trifle awe- stricken. Conway joins them. Gloria has stayed inside. MED. LONG SHOT The approach of the caravan from the viewpoint of the group. It comprises some twenty Tibetans, attired in sheepskins, fur, hats and boots. Somewhere in the middle of the single file is Chang, an elderly Chinese. Chang steps forward as their leader. MED. SHOT (MOVING) As Conway leaves his group and meets the oncoming party. He approaches Chang and bowing courteously, greets him in Chinese. Chang turns his head slowly and speaks in perfect Oxfordian English. CHANG I am from a nearby Lamasery. (holding out his hand) My name is Chang. 115. MEDIUM SHOT George, Barnard and Lovett. GEORGE Why, he's speaking English. LOVETT English! CONWAY (shaking hands) And mine's Conway. CHANG How do you do? CONWAY You've no idea, sir, how unexpected and very welcome you are. My friends and I - and the lady in the plane - left Baskul night before last for Shanghai, but we suddenly found ourselves traveling in the opposite direction— LOVETT At the mercy of a mad pilot. CONWAY We'd be eternally grateful if you— CHANG (interrupting) Where is your mad pilot? CONWAY He must have had a heart attack, or perhaps the fumes. When the plane landed he was dead. GEORGE We were just going to bury him when you came along. CHANG (preoccupied) Pardon me— Chang turns to some of his men and issues an order in a foreign tongue, obviously instructions to take care of the pilot. CONWAY (when Chang is through) So, if you will be good enough to direct us to your Lamasery— MED. CLOSE SHOT - GROUP Favoring Chang. CHANG I shall consider it an honor to accompany you and your friends. He issues a command to his men and turns to Conway. CHANG You will need suitable clothes for the journey. It is not particularly far, but quite difficult. CONWAY Thank you. Several men have hopped into the scene while he has been speaking. They come forward with boots - sheepskins - fur caps, etc. As they start to get into these new clothes: DISSOLVE TO: 117. LONG SHOT As the caravan starts its journey back up the hill. All five people are now attired in their newly acquired outfit. SERIES OF SHOTS Showing the party on various stages of what looks like a humanly impossible journey. We see them first climbing - then across long vastnesses of flat land. Each succeeding time we see them, their feet drag more wearily. Their breathing becomes more difficult. These pictures finally DISSOLVE TO: EXT. NARROW TABLELAND MED. LONG SHOT Halfway up a mountainside. The procession is just starting around a hairpin curve. They are forced to travel on a narrow ledge overlooking a deep ravine. 120. CLOSE SHOT - LOVETT, BARNARD AND GLORIA As they cling against the rocky sides and glance apprehensively down into the abyss below. CLOSE SHOT - GLORIA Close by to Barnard. Gloria's face is wan and haggard. Every upward move seems to require a Herculean effort. She stops and has a fit of coughing. DISSOLVE TO: EXT. MOUNTAIN TRAIL 122. LONG SHOT Of the snake-like moving party. They have reached quite a height although the peak of the mountain they are ascending towers high above them. The cutting wind moans treacherously as it caroms off the mountainside. A heavy mist envelops them. SERIES OF SHOTS As the snake-like line approaches a narrow, treacherous footbridge and makes a slow, difficult crossing in heavy weather. EXT. MOUNTAIN TOP 124. MED. SHOT Of the group. They round a curve and come upon a narrow crevice which opens up into a passageway. One by one they step through, assisted by the natives. On the other side, they sigh relievedly. Oddly, the wind has stopped, the chill has lessened. They look up to inspect their surroundings and a startled look comes into their eyes. MED. CLOSE SHOT Of Conway as he glances casually around. What he sees leaves him transfixed. He stares unbelievingly before him for a long time. EXT. SHOT OF SHANGRI-LA 125. LONG SHOT From angle at mountain top. A sight that is both magnificent and incredible. The eye- filling horizon before them throws out a softness and a warmth that is breathless. On the left is a group of colored pavilions that seem as if suspended on the mountainside. Down below, in the hazy distance, is a valley which gives one the impression of a huge tapestry, superb in its blending of soft colors. In every direction, wherever one might gaze, there is a feast of strange and heavenly beauty. MED. CLOSE SHOT As Chang approaches Conway. CHANG Welcome to Shangri-La. EXT. MOUNTAIN TOP MED. SHOT - GROUP Conway's group and Chang. Chang smiles as he watches their astonished faces. Conway turns from the rare magnificence of Shangri-La, unhampered by the wind and storm they had just encountered, and looks backward, in the direction from which they came to assure himself he is the victim of a nightmare. Chang, watching him, answers him before he can express his astonishment. CHANG (a wave of his hand) You see, we are sheltered by mountains on every side. A strange phenomena for which we are very grateful. DISSOLVE TO: EXT. A GARDEN SERIES OF SHOTS As the group approaches the beautiful and peaceful Shangri- La. 129. MED. SHOT At the foot of a wide marble stairway as the caravan stops. LOVETT It's magic! 130. CLOSER SHOT On the group, as they look around and feast their eyes on the grandeur of the place. CLOSE SHOT - CONWAY Glancing around at his picturesque surroundings. 132. PANNING SHOT Following Conway's gaze. In an upper window of a tower, their faces glued to the pane, are two robed Lamas who stare down curiously. CAMERA PANS OVER to a very narrow terrace covered almost completely by a floral arbor. In it stands a statuesque woman of rare beauty. She looks down at Conway intently. CLOSE SHOT - CONWAY As he returns her gaze, impressed by her beauty. GEORGE'S VOICE Come along, Bob. Coming, Bob? CLOSE SHOT - CONWAY His eyes still on the girl above. He starts up the steps, staring at her, then stumbles. CLOSE SHOT - THE GIRL Laughing at his embarrassment. CLOSE SHOT - CONWAY He smiles up at her. DISSOLVE TO: INT. A DINING ROOM 137. FULL SHOT It suggests nothing we might expect to see in this forsaken place. The motif is neither Oriental nor religious - but rather a delicately appointed room, subdued in tones. At the moment, no one is present except servants who silently set the table. INT. A CORRIDOR MED. TRUCKING SHOT Of Lovett peering worriedly toward dining room door. He sees two servants who flank the entrance and steps back hesitantly. Barnard emerges from a room across the hall, and Lovett beckons to him. Both are attired in flowing robes not unlike the one worn by Chang. LOVETT Mr. Barnard, I do not like this place. I definitely do not like this place. BARNARD Will you stop squawking! LOVETT Look at me. Look at what they gave me to wear. BARNARD You never looked better in your life. As soon as our clothes are cleaned, they're going to give them back to us, Lovey. They have reached the doorway of the dining room and halt. Two servants bow and scrape and lead them in. BARNARD Something tells me this means food. Come on! LOVETT I just feel as though I'm being made ready for the executioner. INT. DINING ROOM 139. MEDIUM SHOT As the servants show Lovett and Barnard to their places. BARNARD (taking in the food) Yeah? If this be execution, lead me to it. LOVETT That's what they do with cattle just before the slaughter. Fatten them. BARNARD Uh-huh. You're a scream, Lovey. LOVETT Please don't call me Lovey. At this moment Conway and George enter. CONWAY That was refreshing! Oh, ho - the food looks good! He takes something off the table and nibbles at it. BARNARD Some layout they got here. Did you get a load of the rooms? You couldn't do better at the Ritz. LOVETT All the conveniences for the condemned, if you ask me. Conway looks at him and smiles. BARNARD Don't mind Lovey. He's got the misery. LOVETT Mr. Conway, I don't like this place. I don't like it. It's too mysterious. CONWAY It's better than freezing to death down below, isn't it? BARNARD I'll say. INT. GLORIA'S ROOM 140. FULL SHOT It is in semi-darkness. The moon sends a stream of light through the windows. Outside we see the outline of towering mountains. Spread across the bed - her clothes unchanged - is the body of Gloria - her face sunk deep in the pillows. MED. CLOSE SHOT Gloria emits wracking coughs. After a few moments - she sits up. Her cheeks are wet - her hair disheveled - her eyes bloodshot. We get an impression of someone who has suffered for hours. Finally, her coughing begins again - and unable to stand it, she rises and paces the floor - then she crosses to the window and looks down, CAMERA PANNING WITH HER - and into her eyes has come a grim, determined expression. 142. LONG SHOT From Gloria's point of view. She is staring at the chasm below her. CONTINUATION SCENE 141 Gloria continues to peer below - and her coughing resumes. INT. CORRIDOR 143. MEDIUM SHOT As Chang comes down the corridor - hears the coughing and stops. INT. GLORIA'S ROOM 144. FULL SHOT Chang enters and watches Gloria for a moment before speaking. CHANG Is there something I can do for you? Gloria wheels around and glares at him. GLORIA What do you want? CHANG I've offered you some warm broth. I thought perhaps- GLORIA You get out of here! If any of you men think you can come busting in here- She cannot finish as she is attacked by a fit of coughing. CHANG Please calm yourself. You'll soon be well if you do. GLORIA (through fits of coughing) I don't need any advice from you! Get me a doctor! CHANG I'm sorry, but we have no doctors here. GLORIA (looks up quickly) No doctors? (bitterly) That's fine. That's just fine. CHANG Please let me help you. GLORIA Sure, you can help me! You can help me jump over that cliff! I've been looking and looking at the bottom of that mountain, but I haven't got the nerve to jump! CHANG (quietly) You shouldn't be looking at the bottom of the mountain. Why don't you try looking up at the top sometimes? GLORIA (her voice cracking) Don't preach that cheap, second- hand stuff to me! (a sob escapes) Go on, beat it. Beat it! She flings herself across the bed, coughing uncontrollably. Chang watches her sympathetically for a few seconds. CHANG (before turning away) Peace be with you, my child. INT. DINING ROOM 145. FULL SHOT They all look up as Chang enters. He is escorted to his place at the head of the table by two servants who stand on either side of his chair. CHANG (jovially) Good evening. Good evening, my friends. Oh no, no, no, please sit down. I hope you found everything satisfactory. BARNARD & CONWAY Swell. Excellent. CHANG (sees that no one has started) You shouldn't have waited for me. BARNARD Where's the girl? Miss Stone. CHANG She's remaining in her room. She isn't feeling very well. (to others) Now please go on without me. I eat very little. 146. MEDIUM SHOT Shooting down the long table toward Chang. He sits up straight - studying them - as the others bend over their food. DISSOLVE TO: INT. DINING ROOM 147. MEDIUM SHOT The meal is over. Conway sips from a wine glass. BARNARD Well, there's certainly nothing wrong with that meal! CHANG Thank you. CONWAY And the wine - excellent. CHANG I'm glad you like it. It's made right here in the valley. LOVETT Now that dinner is over, if you'll excuse us, we're very anxious to discuss ways and means of getting back home. GEORGE The first thing we want to do is to cable the Foreign Office. All of England is waiting to hear about my brother. There's a cruiser at Shanghai ready to take him back. CHANG Really? Well, as regards cabling, I'm afraid I can't help. Unfortunately, we have no wireless here. As a matter of fact, we have no means of communication with the outside world. George stares at him suspiciously - and then turns to Conway for his reaction - but Conway is apparently disinterested in the whole conversation. BARNARD Not even a radio? CHANG It's always been a source of deep regret, but the mountains surrounding us have made reception almost impossible. GEORGE In that event, we better make arrangements to get some porters immediately. Some means to get us back to civilization. CHANG Are you so certain you are away from it? GEORGE As far away as I ever want to be. CHANG Oh, dear. LOVETT Of course, the porters will be very well paid - that is, within reason. CHANG I'm afraid that wouldn't help. You see, we have no porters here. LOVETT No porters here!! CHANG No. BARNARD What about those men we met this morning? CHANG Yes. Those are our own people. They never venture beyond the point where you were met this morning. It is much too hazardous. CLOSE SHOT - CONWAY To intercut with above speech. He has remained quiet throughout the scene, apparently interested only in a paper in front of him, upon which he has been writing. INSERT: What has been occupying Conway's interest. It is a picture of Chang which he has been listlessly drawing. BARNARD How do you account for all this? Who brought it in? 149. FULL SHOT They all turn to Chang expectantly. CHANG Oh, yes. There is a tribe of porters some five hundred miles from here. That is our only contact with the outside world. Every now and again, depending upon favorable weather of course, they make the journey. GEORGE How can we get in touch with them? CHANG In that respect, you are exceedingly fortunate. We are expecting a shipment from them almost any time now— LOVETT What exactly do you mean by "almost any time now"? CHANG Well, we've been expecting this particular shipment for the past two years. BARNARD Two years!? CHANG Yes. Barnard and Lovett look shocked. George starts to say something, but the words choke in his throat. CHANG But I can assure you, gentlemen, if there is a prolonged delay, Shangri-La will endeavor to make your stay as pleasant as possible. (rising) And now if you will excuse me, it is getting late. I do hope you all sleep well. Good night. The servants move his chair back. Before he goes, however, he turns to Conway. CHANG Good night, Mr. Conway. Conway, a little surprised at the distinction in his behalf, nods. CONWAY Good night, sir. Chang exits. There is a hushed silence following Chang's departure. LOVETT That's what I mean - mysterious. Mr. Conway, I don't like that man. He's too vague. GEORGE (concerned) We didn't get much information out of him, did we Bob? CONWAY It seems to me we should be grateful. We were in a bad mess this morning. (a wave of his hand) After all, this is quite pleasant. Why not make ourselves comfortable until the porters do arrive? While he was speaking, the muted strains of a violin float into the room. Conway rises. 150. MEDIUM SHOT As Conway crosses to a balcony door. BARNARD That's what I say. What do you say to a rubber of bridge? I saw some cards in the other room. CONWAY Not for me, thanks. No, I'm too weary. He disappears onto the balcony. George watches him go. BARNARD (slightly effeminate) How about you Lovey? Come on. Let's you and I play a game of honeymoon bridge. LOVETT (distractedly) I'm thinking. BARNARD Thinking? What about some double solitaire? LOVETT As a matter of fact, I'm very good at double solitaire. BARNARD No kidding? LOVETT Yes. BARNARD Then I'm your man. (starts away) Come on, Toots. Lovett detests the pet names, but follows. George thinks a moment - and crosses to balcony. EXT. BALCONY 151. MEDIUM SHOT Conway is listening moodily to the soulful music. George wanders in beside him. CONWAY Hello, George. (looking out) Cigarette? GEORGE Thanks. (lights the cigarette - after a pause) I suppose all this comes under the heading of adventure. CONWAY We've had plenty of it the last few days. GEORGE It's far from over, from what I can see. This place gives me the creeps, hidden away like this - no contact with civilization. Bob, you don't seem concerned at all. CONWAY Oh, I'm feeling far too peaceful to be concerned about anything. (moodily) I think I'm going to like it here. GEORGE You talk as though you intend on staying. CONWAY (turns to him) Something happened to me, when we arrived here, George, that - well - did you ever go to a totally strange place, and feel certain that you've been there before? GEORGE What are you talking about? CONWAY (back to earth) I don't know. GEORGE You're a strange bird. No wonder Gainsford calls you the man who always wanted to see what was on the other side of the hill. 152. TWO SHOT - CONWAY AND GEORGE Conway's point of view, studying George. CONWAY Don't you ever want to see what's on the other side of the hill? GEORGE What could there be except just another hill? In any event, I'm not curious. At the moment, it seems to me we should be concerned about getting home. I'd give anything to be in London right now. CONWAY Of course you would. If ever we get out of this place, the thing for you to do is to take that job with Helen's father. GEORGE What do you mean if we should get out? CONWAY (evasively) Did I say "if"? GEORGE (interrupting) That's what you said. CONWAY Well - I mean— GEORGE What's on your mind, Bob? You talk as though we're going to have trouble getting out of here. 153. CLOSE TWO SHOT - FAVORING CONWAY CONWAY George, I've been putting things together. Do you notice the resemblance between those natives and the pilot? And why did those clothes materialize so conveniently when they met us at the plane? Chang himself just said that they never venture beyond that point. What brought them there? Unless it was to meet us? GEORGE (catching on) Chang's first question was about the pilot. CONWAY Uh-huh. GEORGE There must be some connection between the plane and this place. They must have deliberately brought us here. Why, Bob? What reason could they have for doing a thing like that? CONWAY That's what's on the other side of the hill. FADE OUT: FADE IN: EXT. OF VALLEY - DAY 154. LONG SHOT FROM A TOWER ROOM Shooting over shoulders of two men in f.g. We see a beautiful picture of the valley below. There is a tranquility here that is beatific. CAMERA PULLS BACK. The two men are revealed as Conway and Chang. They stand on a terrace of one of the tower rooms. CHANG It's three thousand feet, practically straight down to the floor of the valley. The Valley of the Blue Moon, as we call it. There are over two thousand people in the Valley besides those here in Shangri-La. CONWAY Who and what is Shangri-La? You? CHANG Goodness, no! CONWAY So there are others? CHANG Oh, yes. CONWAY Who, for instance? CHANG In time you will meet them all. 155. CLOSE SHOT - THE TWO - FAVORING CONWAY He watches Chang's face searchingly, then smiles. CONWAY For a man who talks a great deal, it's amazing how unenlightening you can be. CHANG (laughs) There are some things, my dear Conway, I deeply regret I may not discuss. CONWAY You know, that's the fourth time you've said that today. You should have a record made of it. CHANG (evasively) Shall we go inside? I should so like to show you some of our rare treasures. INT. A TOWER FOLLOW SHOT WITH GEORGE On a spiral staircase. Looking surreptitiously around, he backs his way up. CAMERA FOLLOWS HIM as he reaches the top of the landing. Here he stops and glances around the corner down a corridor. INT. CORRIDOR 157. MEDIUM SHOT CAMERA FOLLOWS GEORGE as he peers into several rooms searchingly. He finally arrives at one and enters. INT. A ROOM 158. FULL SHOT George enters and looks around. It is dimly lit and apparently unoccupied. He crosses to a desk and picks up several objects, scrutinizing them closely. 159. CLOSE SHOT OF THE GIRL, MARIA - IN ALCOVE She sits, a tapestry board on her lap, watching George with keen interest. CLOSE SHOT - GEORGE He opens a book and glances at its contents. MED. SHOT TO INCLUDE BOTH Maria surveys his back appraisingly. MARIA Good afternoon. George wheels around, startled, and stares at her intently. GEORGE (starts backing out) EXCUSE ME– MARIA (appealingly) Please don't go. George hesitates at door. MARIA Tea will be served any moment. CLOSE SHOT - GEORGE He watches her with grave speculation for a long moment, then slowly moves toward her. MARIA (a winning smile) Won't you come in? George still maintains a serious mien, as their eyes meet. MARIA My name is Maria. Won't you sit down? INT. LIBRARY 163. FULL SHOT It is a huge room. The walls are lined with impressive tomes. Chang is showing Conway around. 164. MEDIUM SHOT Conway has just finished browsing through one of the books. CONWAY By the way, what religion do you follow here? CHANG We follow many. A look of surprise spreads over Conway's face. CHANG (thoughtfully) To put it simply, I should say that our general belief was in moderation. We preach the virtue of avoiding excesses of every kind, even including— (he smiles) —the excess of virtue itself. CLOSER SHOT - THE TWO CONWAY That's intelligent. CHANG We find, in the Valley, it makes for better happiness among the natives. We rule with moderate strictness and in return we are satisfied with moderate obedience. As a result, our people are moderately honest and moderately chaste and somewhat more than moderately happy. CONWAY How about law and order? You have no soldiers or police? CHANG Oh, good heavens, no! CONWAY How do you deal with incorrigibles? Criminals? CHANG Why, we have no crime here. What makes a criminal? Lack, usually. Avariciousness, envy, the desire to possess something owned by another. There can be no crime where there is a sufficiency of everything. CONWAY You have no disputes over women? CHANG Only very rarely. You see, it would not be considered good manners to take a woman that another man wanted. CONWAY Suppose somebody wanted her so badly that he didn't give a hang if it was good manners or not? CHANG (smiling) Well, in that event, it would be good manners on the part of the other man to let him have her. 166. CLOSE SHOT - THE TWO - FAVORING CONWAY CONWAY That's very convenient. I think I'd like that. CHANG You'd be surprised, my dear Conway, how a little courtesy all around helps to smooth out the most complicated problems. MED. CLOSE SHOT - THE TWO Chang smiles. Conway scarcely hears the last speech, for his attention has been caught by the playing of a piano. He stops to listen. Chang has walked out of scene. 168. MEDIUM SHOT Conway locates the direction whence the music comes, goes to a doorway where he stops. CLOSE SHOT - CHANG He realizes Conway did not follow him and turns. When he sees Conway, his face clouds - and he starts toward him. CLOSE SHOT AT DOOR Conway watches someone through door with grave interest. Chang enters scene and follows his gaze. INT. MUSIC ROOM 171. FULL SHOT From doorway. It is a spacious, high-ceilinged room, oddly shaped, and except for a piano, a harp and several chairs, is otherwise sparsely furnished. At the extreme end, the room is set off by an alcove of stained glass extending from the ceiling to the floor, where it finishes with a deep window seat. At the piano we see an old man - and by his side is the girl Conway saw last night. They finish playing and both laugh heartily. CLOSE SHOT AT DOORWAY Conway finds her laughter infectious - and smiles. 173. CLOSE SHOT - GIRL AND MAN AT PIANO In the midst of her laughter, the girl sees Conway, off scene, and her face sobers - self-consciously. CLOSE SHOT AT DOORWAY Chang quickly takes Conway by the arm. CHANG At some time in the future you will have the pleasure of meeting her. Conway turns for one last glimpse of the girl, and then turns to Chang, looking up at his face, puzzled and amused. CONWAY Some man had better get ready to be very courteous to me. CLOSE-UP - THE GIRL She continues to stare off toward the door, her eyes alight with a keen interest. DISSOLVE TO: INT. CORRIDOR 176. FOLLOW SHOT WITH CONWAY AND CHANG CONWAY But Mr. Chang, all these things - books, instruments, sculpture - do you mean to say they were all brought in over those mountains by porters? CHANG They were. CONWAY Well, it must have taken– CHANG Centuries. CONWAY Centuries! Where did you get the money to pay for all those treasures? CHANG Of course we have no money as you know it. We do not buy or sell or seek personal fortunes because, well, because there is no uncertain future here for which to accumulate it. INT. A ROOM CLOSE SHOT - THE TWO They have arrived in a small room, where they pause. Chang reaches into a bowl of large nuts, cracks one, and hands the nut to Conway. Then he does the same for himself. During the following scene, both are eating nuts from the bowl. CONWAY That would suit me perfectly. I'm always broke. How did you pay for them? CHANG Our Valley is very rich in a metal called gold, which fortunately for us is valued very highly in the outside world. So we merely . . . CONWAY —buy and sell? CHANG Buy and - sell? No, no, pardon me, exchange . CONWAY (chuckling) I see. Gold for ideas. You know Mr. Chang, there's something so simple and naive about all of this that I suspect there has been a shrewd, guiding intelligence somewhere. Whose idea was it? How did it all start? CHANG That, my dear Conway, is the story of a remarkable man. CONWAY Who? CHANG A Belgian priest by the name of Father Perrault, the first European to find this place, and a very great man indeed. He is responsible for everything you see here. He built Shangri-La, taught our natives, and began our collection of art. In fact, Shangri-La is Father Perrault. CONWAY When was all this? CHANG Oh, let me see - way back in 1713, I think it was, that Father Perrault stumbled into the Valley, half frozen to death. It was typical of the man that, one leg being frozen, and of course there being no doctors here, he amp