CONWAY
(rises)
No thanks. Not tonight if you don’t
mind.
He crosses to a window and glances out.
Chang looks up and sees Maria in doorway.
CHANG
Come in, my dear.
270. CLOSE SHOT – MARIA
In doorway. She seems slightly embarrassed.
MARIA
Sorry. I didn’t mean to interrupt.
(self-consciously)
I thought Mr. Conway’s brother was here.
Excuse me.
She leaves.
271. CLOSE SHOT – CONWAY AND CHANG
CHANG
Charming, isn’t she?
CONWAY
Yes, charming.
CHANG
Your brother seems quite fascinated
by her.
CONWAY
Why not? She’s an attractive young woman.
CHANG
Young? She arrived here in 1888. She
was 20 at the time. She was on her way
to join her betrothed – when her carriers
lost their way in the mountains. The
whole party would have perished but
for meeting some of our people.
CONWAY
(hands in the air)
Amazing! She still doesn’t look over
20. When is she likely to grow old in
appearance?
CHANG
Not for years. Shangri-La will keep
her youthful indefinitely.
CONWAY
Suppose she should leave it?
? 551 ?
CHANG
Leave Shangri-La! That’s not likely.
You couldn’t drive her out.
CONWAY
No, I mean about her appearance. If
she should leave the valley – what would
happen?
CHANG
Oh, she’d quickly revert in her appearance
to her actual age.
CONWAY
(shaking his head)
It’s weird.
(a pause)
Chang, how old are you?
CHANG
Age is a limit we impose upon ourselves.
You know, each time you Westerners celebrate
your birthday, you build another fence
around your minds.
They are interrupted by the entrance
of George.
GEORGE
(stridently)
Oh, there you are! You’re just the man
I’m looking for.
272. WIDER ANGLE
As George comes up to them. He is livid
with rage. He crosses directly to in
front of Chang.
GEORGE
A fine trick! Smart, aren’t you? What
a pack of lies you told us about those
porters! Of course the minute they arrive,
we can make arrangements to leave. If
they take us. But you knew very well
you’d tell them not to!
273. THREE SHOT – FAVORING GEORGE
CHANG
Now, my dear boy. You shouldn’t—
GEORGE
(snapping at him)
You’ve been lying to us ever since we
got here! Apparently it’s worked with
some people. Perhaps it’s because they
lack the courage to do anything about
it. But not me, Chang. You’re up against
the wrong man. I’ll get out of here,
if I have to blow this fantastic place
into the valley! I’ll get out—porters
or no porters!
And with this threat, he storms out
of the room.
CHANG
You must prevail upon him not to attempt
the journey. He could never get through
that country alive.
? 552 ?
CONWAY
(tensely)
I can’t let him go alone. It’s suicide!
He exits abruptly. Chang watches him
depart, deeply upset.
INT. HIGH LAMA’S CHAMBER
274. MEDIUM SHOT
Conway sits in the same place before
the Lama.
LAMA
Yes, of course, your brother is a problem.
It was to be expected.
CONWAY
I knew you’d understand. That’s why
I came to you for help.
LAMA
You must not look to me for help. Your
brother is no longer my problem. He
is now your problem, Conway.
CONWAY
Mine?
LAMA
Because, my son, I am placing in your
hands the future and destiny of Shangri-La.
(pause)
For I am going to die.
There is a pause during which Conway
cannot conceal his amazement at this
simple statement.
LAMA
I knew my work was done when I first
set eyes upon you.
275. CLOSEUP – CONWAY AND LAMA
Conway is too awed and impressed to
utter a sound. The High Lama finally
resumes.
LAMA
I have waited for you, my son, for a
long time. I have sat in this room and
seen the faces of newcomers. I have
looked into their eyes and heard their
voices – always in hope that I might
find you . My friend, it is not an arduous
task that I bequeath, for our order
knows only silken bonds. To be gentle
and patient, to care for the riches
of the mind, to preside in wisdom, while
the storm rages without.
CONWAY
Do you think this will come in my time?
? 553 ?
276. MED. CLOSE SHOT – THE TWO
HIGH LAMA
You, my son, will live through the storm.
You will preserve the fragrance of our
history, and add to it a touch of your
own mind. Beyond that, my vision weakens.
(pause – magisterially)
But I see in the great distance a new
world starting in the ruins – stirring
clumsily – but in hopefulness, seeking
its vast and legendary treasures. And
they will all be here, my son, hidden
behind the mountains in the Valley of
the Blue Moon, preserved as if by a
miracle.
The voice of the Lama, toward the last,
seems to fade out. Conway, thoroughly
engrossed, half-consciously waits for
it to continue. Following a protracted
silence, he slowly turns toward the
Lama. A breeze blows through the room,
ruffling curtains on the window.
277. CLOSE SHOT – THE HIGH LAMA
From whose face the glow has faded.
There is nothing left but a dark-shadowed
mask.
278. CLOSEUP – CONWAY
He stares, uncertainly, for a long while,
with a slow realization that the High
Lama is dead. Quite unaware that he
is being moved emotionally, tears well
up in his eyes. While still sitting
this way, unable to stir, he becomes
conscious of activity around him.
279. MEDIUM SHOT
As two servants, unbeckoned, arrive
– only to peer, solemn-faced, at the
Lama. Then, in intervals of seconds,
groups of Lamas, hitherto unseen, enter
softly and silently, and gather around
the High Lama. We hear indistinguishable
murmurs that might or might not be prayers.
Conway is only vaguely aware of their
presence – and after a few moments,
scarcely conscious of what is actuating
his movements, he drifts away from the
murmuring Lamas, and walks in the direction
of the door.
DISSOLVE TO:
INT. BARNARD’S ROOM
280. MEDIUM SHOT
Barnard and Gloria are on their knees
on the floor. Before them they have
spread a large map or chart. Barnard
is enthusiastically out – lining his
plans.
BARNARD
Look, honey. We run the pipes through
here, and we connect with the main water
line here.
GLORIA
Pipes? Where are you going to get pipes?
BARNARD
Oh, that’s a cinch. I’ll show them how
to cast pipes out of clay.
This is as far as they get for George
at this moment barges in.
? 554 ?
GEORGE
There you are! Barnard, you’d better
get your things together. We’re leaving.
BARNARD
Leaving?
GEORGE
Yes. I’ve just been talking with the
porters. They’re going to take us. We’ve
got clothing, food, everything. Come
on!
BARNARD
When are you going to start?
GEORGE
Right this very minute! The porters
are waiting for us on the plateau. And
that Chinaman thought he could stop
me. Come along.
BARNARD
I think I’ll stick around. I’ll leave
with the porters on their next trip.
GEORGE
You mean you don’t want to go?
BARNARD
Well – I’m—
GEORGE
I see. You’re afraid of going to jail,
eh?
BARNARD
Well, no. You see, I got this plumbing
business—
GEORGE
All right! If you insist on being an
idiot, I’m not going to waste time coaxing
you.
(to Gloria)
How about you?
BARNARD
Oh, no – you don’t want to go yet, honey.
(before she can answer)
She’ll stick around too.
(to Gloria)
Is that right?
GLORIA
(beaming)
If you want me to!
BARNARD
Sure – sure. Don’t you worry. I’ll take
care of you.
GEORGE
All right, suit yourself. But just remember
you had your chance.
? 555 ?
As he starts out, Lovett enters.
GEORGE
How about you? Do you want to go?
LOVETT
Go? Where?
GEORGE
Home. Away from here. I’ve got porters
to take us back.
281. CLOSE TWO SHOT – GEORGE AND LOVETT
LOVETT
Oh, my dear boy, I’m sorry. That’s impossible.
Why, I have my classes all started.
GEORGE
(irritably)
I don’t care what you’ve got started.
Do you want to go?
LOVETT
Well – no – I think I’d better wait.
Yes, yes. I will. I’ll wait.
GEORGE
(grumbling as he goes)
You’ll wait till you rot!
LOVETT
(glowering after him)
Yes.
(does a double-take)
Barney!
BARNARD
Lovey!
Lovett immediately dismisses George
from his mind and his face brightening,
he starts toward Barnard and Gloria.
282. MED. CLOSE SHOT
As Lovett joins the two on the floor.
LOVETT
Hello, Gloria.
GLORIA
Hello.
LOVETT
Barney, I’ve just finished translating
one of the most interesting old tablets
you can imagine. It told me all about
the origin of the Masonic symbols and—
BARNARD
That’s swell, Lovey. I want to show
you something. Look!
He proudly displays his map.
? 556 ?
LOVETT
Oh my, isn’t that pretty! What is it?
BARNARD
Plumbing. Everything modern. I’m going
to run pipes all through the village—
As all three heads go into a huddle.
INT. CONWAY’S ROOM
283. CLOSE SHOT
Conway stands in front of a window –
his arms extended across – peering out
moodily. He is watching a solemn and
slow-moving procession of torchlight-bearers
– the funeral rites of the High Lama
– accompanied by cermonial music and
drum-beating.
284. LONG SHOT
Shooting over his shoulder.
Getting his view of the magisterial
procession.
285. CLOSE SHOT
Conway, as he thoughtfully surveys the
surroundings of which he has just become
master.
286. CLOSE SHOT – AT DOOR
George appears in the doorway. He looks
around and espies Conway. For a moment
he stands uncertainly, and finally enters.
GEORGE
(softly)
Bob—
287. MEDIUM SHOT
As Conway turns – and seeing him, evinces
no emotion whatsoever.
CONWAY
(a murmur)
Hello, George.
George looks at him peculiarly. Conway’s
behavior is odd in view of their strained
relationship.
GEORGE
Well, you can stop worrying about everything
now, Bob. I’ve made arrangements to
leave. If you’ll let me close that window,
I can talk to you. That noise is driving
me crazy.
He closes the window.
GEORGE
I said we’re getting out of here. Back
to civilization. I made a deal with
the porters. They brought in a load
of books or something, and they’re leaving
tomorrow at dawn. They’re waiting for
us five miles outside the valley. Come
on, get your things together. Where’s
your top coat?
288. CLOSE SHOT – THE TWO
CONWAY
You can’t leave, George.
? 557 ?
GEORGE
Why not? What’s going to stop me?
CONWAY
(pleading)
You mustn’t. You’ve got to stay here
now.
GEORGE
(sharply)
Stay here?!
(more softly)
What’s the matter with you, Bob? You’ve
been acting strangely ever since we
came here.
(no response from Conway)
I’ve never seen you like this. Why can’t
we leave? What’s stopping us?
Conway combats an impulse to tell him
the whole story.
CONWAY
(impulsively)
Something grand and beautiful, George.
Something I’ve been searching for all
my life. The answer to the confusion
and bewilderment of a lifetime. I’ve
found it, George, and I can’t leave
it. You mustn’t either.
GEORGE
I don’t know what you’re talking about.
You’re carrying around a secret that
seems to be eating you up. If you’ll
only tell me about it.
CONWAY
I will, George. I want to tell you.
I’ll burst with it if I don’t. It’s
weird and fantastical and sometimes
unbelievable, but so beautiful!
(pause)
Well, as you know, we were kidnapped
and brought here . . .
While he is speaking, we slowly
DISSOLVE TO:
289. SAME SCENE:
As Conway is concluding his story.
CONWAY
. . . And that’s the whole story, George.
He died as peacefully as the passing
of a cloud’s shadow. His last words
to me were, “I place in your hands,
my son, the future and destiny of Shangri-La.”
Now you know why I can’t leave.
George listens to him intently, his
face a mask of apprehension. He stares
at his brother for some time and finally
rises and walks around for a few moments.
GEORGE
(running his hand through his hair)
Well, I – I really don’t know what to
say. Except that you must be completely
mad.
? 558 ?
CONWAY
So you think I’m mad?
GEORGE
What else can I think after a tale like
that? Good heavens, Bob, things like
that don’t happen today. We’re living
in the twentieth century.
CONWAY
So you think it’s all nonsense, huh?
290. MED. SHOT – THE TWO
GEORGE
I think you’ve been hypnotized by a
lot of loose-brained fanatics. Why,
I wouldn’t believe it if I heard it
in an English monastery. Why should
I swallow it here in Tibet? How do you
know the things they told you are true?
Did they show you any proof?
CONWAY
I don’t need any proof.
GEORGE
(contemptuously)
I knew there was a reason I hated this
place. I’d give half my life to fly
over it with a load of bombs just for
what they’ve done to you. How do you
know the things they told you are true?
Did they show you any proof? All this
talk about the Lamas being hundreds
of years old. How do you know? Did you
see their birth certificates?
(some more pacing)
I can’t believe it, Bob. A bunch of
decrepit old men sit around and dream
about reforming the world. And you,
Bob Conway – two-feet-on-the-ground
Conway – want to join them. It’s horrible.
CONWAY
Is that all my story meant to you?
GEORGE
What else could it mean to me? It’s
obviously a lot of bunk.
CONWAY
Then you’d better go, George. This is
no place for you.
GEORGE
It’s no place for you, Bob. Think of
what’s waiting for you. Do you want
to stay here until you’re half dead?
Until your mind starts corroding like
the rest of them?
CONWAY
Please, George. I don’t want to talk
about it anymore.
? 559 ?
GEORGE
You’ve got to talk about it. What about
me? You said they stole that plane to
bring you here. I didn’t want to come.
You owe me some responsibility.
CONWAY
I’m tired of owing you things. You’re
free to go. Go ahead.
GEORGE
(suddenly)
It’s that girl – that girl has twisted
and turned—
CONWAY
Enough! Never mind the girl!
(a tense moment of silence)
Well, why don’t you go?
Conway has sunk into a chair. George
kneels before him, pleading.
GEORGE
Look here, Bob, Ever since I can remember,
you’ve looked after me. Now I think
you’re the one that needs looking after.
I’m your brother, Bob. If there’s something
wrong with you, let me help you.
CONWAY
(a murmur)
Oh, George . . .
GEORGE
Besides, I – I don’t feel like making
that trip alone, Bob.
CONWAY
George, you couldn’t possibly stay here,
could you?
GEORGE
I’d go mad!
CONWAY
(after a moment’s hesitation)
George, I may be wrong, I may be a maniac.
But I believe in this, and I’m not going
to lose it.
(warmly)
You know how much I want to help you,
but this is bigger, stronger if you
like than brotherly love. I’m sorry,
George. I’m staying.
GEORGE
(after a long pause)
Well, I can’t think of anything more
to say. Goodbye, Bob.
They shake hands warmly. George turns
to leave.
? 560 ?
CONWAY
(just as George reaches the door)
George, are you sure of the porters?
About their taking care of you, I mean?
GEORGE
(turning back)
Oh yes. It’s all set. Maria made the
arrangements.
CONWAY
(glances up – surprised)
Maria?
GEORGE
Yes, the little Russian girl.
CONWAY
What’s she got to do with it?
GEORGE
She’s going with me.
Conway looks his extreme amazement.
CONWAY
(suddenly – wild)
George, you’re crazy!
As he says this he jumps to his feet.
George is startled by his tone and manner.
CONWAY
(wheeling)
You can’t take her away from here!
GEORGE
(confidently)
Why not?
CONWAY
(strongly)
Because you can’t. Do you know what
will happen to her if she leaves Shangri-La?
She’s a fragile thing that can only
live where fragile things are loved.
Take her out of this valley and she’ll
fade away like an echo.
GEORGE
(slowly)
What do you mean – “fade away like an
echo”?
CONWAY
She came here in 1888!
291. CLOSE SHOT – THE TWO
Favoring George. He laughs hollowly.
He runs his hand through his hair. He
stares unbelievingly at Conway.
GEORGE
This would be funny – if it wasn’t so
pathetic. Why, she isn’t a day over
twenty!
? 561 ?
CONWAY
You’re wrong, George.
GEORGE
I’m not wrong. She told me so. Besides,
she wouldn’t have to tell me. I’d know
anyway.
(significantly)
I found out a lot of things last night.
(quickly)
I’m not ashamed of it either. It’s probably
one of the few decent things that’s
ever happened in this hellish place.
292. MED. CLOSE SHOT – THE TWO
Conway stares at him.
GEORGE
(cynically)
So everyone is serenely happy in Shangri-La?
Nobody would ever think of leaving?
(vehemently)
It’s all just so much rot! She’s pleaded
with me ever since I came here to take
her away from this awful place. She’s
cried in my arms for hours, for fear
I’d leave her behind. And what’s more,
she’s made two trips to the plateau
to bribe the porters – for me!
CONWAY
(doesn’t want to believe it)
I don’t believe it! I don’t believe
a word of it!
GEORGE
All right. I’ll prove it to you! You
believe everything they’ve told you
– without proof! I’ll prove my story!
As he speaks he has crossed to door
leading to adjoining room. Conway’s
eyes are glued on him.
GEORGE
Come in a minute.
After a few seconds Maria appears in
the doorway and stands there timidly.
GEORGE
Come in.
She steps forward.
293. MED. SHOT – THE THREE
GEORGE
(shrewdly)
I’ve got some bad news for you, Maria.
My brother and I have decided we can’t
take you along.
Maria’s face collapses.
? 562 ?
MARIA
(small, frightened voice)
You can’t take me?
She rushes to George and throws her
arms around him.
MARIA
But you promised me! You promised to
take me with you!
Over her shoulder George looks victoriously
at Conway, who cannot believe his ears.
Suddenly Maria wheels on Conway.
MARIA
It’s all your fault! It was all arranged
until he spoke to you! Why can’t you
leave us alone?
CONWAY
Do you mean to tell me you want to leave
Shangri-La?
MARIA
I’ll die if I have to stay here another
minute! I’ve waited a long time for
this chance to go, and you’re not going
to stop me now. If I have to, I’ll go
alone. It was I who bribed the porters.
If it weren’t for me, you’d never get
out!
CONWAY
I thought the porters had instructions
from the High Lama not to take anyone.
MARIA
The High Lama? Who pays any attention
to him? The porters laugh at the High
Lama. All they want to know is how much
gold he will give them. Well, I gave
them more gold. I’ve been stealing it
for a year. I’d do anything to get out
of this place. To get away from that
High Lama – the one who calls himself
Father Perrault! Why, he’s been insane
for years!
CONWAY
Father Perrault is dead.
MARIA
He’s dead? That’s fine. You won’t see
me shedding any tears over him!
(pleading)
Oh George, you must take me with you!
CONWAY
(quietly)
Aren’t you afraid to leave? You don’t
want to look like an old woman, do you?
MARIA
Old woman? Chang told you that, didn’t
he?
CONWAY
Yes.
? 563 ?
MARIA
I thought so! He tells everyone I’m
old. He wants them to stay away from
me. He can’t stand it when anyone comes
near. He’s punished me for every minute
I’ve spent with George. If it weren’t
for him, I would have been out of here
long ago, but he always stops me. Six
months ago, I tried to escape and he
locked me in a dark room. I nearly went
crazy.
(pause)
Look at me, Mr. Conway, do I look like
an old woman? Is this the skin of an
old woman? Look into my eyes and see
if these are the eyes of an old woman?
GEORGE
She was kidnapped and brought here two
years ago just as we were, Bob.
CONWAY
(thrown)
I don’t believe it! I can’t believe
it. She’s lying.
(wildly)
You’re lying. You’re lying! Every word
you’ve been saying is a lie! Come on,
say it!
He has backed her into a corner and
is nearly throttling her.
CONWAY
You’re lying, aren’t you?
MARIA
No, Mr. Conway, I’m not lying. What
reason could I have for lying? The chances
are that we’ll never come out of that
horrible trip alive, but I’d rather
die out there in a snowstorm and be
buried alive, than to stay here one
more minute now.
Thoroughly disillusioned, Conway emits
a few cynical chuckles – shakes his
head – stares blankly for a moment.
CONWAY
(dead voice)
You say the porters are waiting for
us?
GEORGE
Yes.
CONWAY
The clothes?
GEORGE
(alertly)
Yes, everything!
CONWAY
What about the others?
? 564 ?
GEORGE
I’ve already asked them. They’re afraid
to make the trip. We’ll have to send
an expedition back after them.
CONWAY
(business-like)
Come on! We’re wasting time!
Conway dashes around and collects his
things.
MARIA
Are you taking me?
CONWAY
Yes, of course. Certainly. Come on!
They start out the door and we . . .
DISSOLVE TO:
EXT. IN THE GARDEN
294. MED. CLOSE TRUCKING SHOT
Conway, George and Maria on their way
out of the main building. The funeral
procession continues around them. The
two men walk together, Maria behind.
George is cheerful and buoyant.
GEORGE
It won’t be long now before we’re in
London. Can’t you just see everyone
when we pop out of the blue!
Conway’s jaw is set grimly.
295. MED. SHOT
As Conway, George and Maria continue.
GEORGE
We’ll have them breathless when they
hear our story.
While he speaks, Conway turns his head
around, looking for a glimpse of Sondra.
296. MEDIUM SHOT – CHANG
As he hurries out of the building and
looks out at them from a roof terrace.
297. CLOSE SHOT – MOVING WITH CONWAY
As he continues to look back in Sondra’s
direction, although he keeps in step
with George.
GEORGE’S VOICE
You had me worried for a while. I thought
you were gone completely.
Conway turns his head away.
298. THREE SHOT (MOVING)
Conway, George and Maria. George glances
up at Conway.
? 565 ?
GEORGE
(sincerely – grinning)
Lucky thing for me you snapped out of
it, too. You saved my life. I never
could have made it alone.
CONWAY
What was that?
GEORGE
I was saying—
CONWAY
Can’t you shut up? Must you go on babbling
like an idiot?
George looks up, startled.
299. LONG SHOT
Sondra has come running out to stand
anxiously beside Chang.
300. MED. CLOSE SHOT
Sondra and Chang.
SONDRA
What’s happened? Where’s Bob?
CHANG
He’s going, my child.
SONDRA
Going?
CHANG
But he will return.
SONDRA
Oh no! No! Bob!
Shouting, she rushes off and the CAMERA
FOLLOWS HER as she races down a long
flight of stairs, calling out Conway’s
name.
301. TRUCKING CLOSEUP – SONDRA
As she runs, calling out Conway’s name
and weeping.
302. A SERIES OF SHOTS
Showing Conway, George and Maria – accompanied
by a dozen or more porters – as they
approach the mountain opening where
they first entered Shangri-La.
303. CLOSEUP – CONWAY
He hesitates at the opening, looks back
one more time. His eyes show confusion
and defeat. George, ahead, calls out
to him to hurry.
304. TRUCKING MEDIUM SHOT – SONDRA
As she stumbles up the trail to the
opening, minutes behind. The wind howls
on the other side. She cries and weeps,
calling out Conway’s name, but he can
no longer be seen.
? 566 ?
DISSOLVE TO:
305. A SERIES OF SHOTS
Which should be a group of portraits
– showing the group’s seemingly impossible
journey back to civilization. These
pictures should be accompanied by music
in the appropriate mood.
306. NIGHT SHOT
Accompanied by the porters, they trudge
laboriously through snow-ridden plains.
DISSOLVE TO:
307. DAY
The whole caravan are seen in the distance,
clambering up a mountain-side – hoisted
by ropes.
DISSOLVE TO:
308. NIGHT
In the middle of a vast plain. They
attempt to put up tents, which proves
futile, as a raging snowstorm rips the
canvas from its moorings.
DISSOLVE TO:
309. DAY
The large group are seen lowering themselves
in single file down a ledge alongside
a ravine. The wind howls.
DISSOLVE TO:
310. DAY
A mountain pass somewhere with a hailstorm
swiping viciously across their faces.
They edge their way pre-cautiously across
a narrow ledge. Suddenly the girl loses
her bearings – slips – screams – and
is caught by Conway just in time to
save her from falling down the side
of the jagged mountain.
DISSOLVE TO:
311. MED. SHOT – NIGHT
Maria has one arm around George and
the other around Conway – limping. She
has her head down. They trudge silently.
The porters are off in the distance,
leaving them behind.
MARIA
(collapsing)
I can’t stand it. I can’t go on anymore!
I’ve got to rest.
She stumbles and they help her up. George
looks off toward the porters helplessly.
MARIA
(hysterical)
How long is this going to go on? I can’t
stand it, I say.
312. MED. SHOT
Of the porters, laughing at their distress.
? 567 ?
313. MED. SHOT – THE THREE
GEORGE
Bob, can’t you get them to wait for
us? They’re leaving us farther behind
every day.
CONWAY
There’s nothing that would suit them
better than to lose us, but we must
go on.
(to Maria – gently)
Come on.
MARIA
No, I can’t! I can’t! You’ve got to
let me rest! You’ve got to let me rest!
CONWAY
(calling out to the porters)
Hey!
314. MED. SHOT
Of the porters, still laughing. The
lead porter whips out a gun and fires
at them for sport.
315. MED. SHOT – THE THREE
They are in no danger. The porters are
too far off.
GEORGE
(contemptuously)
Target practice again! One of these
days they’re going to hit us.
CONWAY
(wryly)
As long as they keep on aiming at us,
we’re safe.
(to Maria)
Come now, child.
They start to move again.
316. MED. SHOT
Of the porters. They are still laughing,
and now others have drawn out their
guns. Firing off wildly, they trigger
an ominous thunder overhead.
317. MED. SHOT – THE THREE
Looking up, they see an avalanche beginning.
318. A SERIES OF SHOTS
Of the avalanche, picking up strength
and fury as it crashes downhill, sweeping
over the porters and crushing them to
death.
319. CLOSE SHOT – THE THREE
An immense silence comes over them.
Conway and George can only stare, dazed
and frightened. The only sound is Maria,
sobbing.
DISSOLVE TO:
320. MEDIUM SHOT – DAY
A scene in which Conway carries the
girl on his back. George walks behind.
The wind continues to howl.
? 568 ?
321. CLOSEUP – GEORGE
Staring at the girl’s face as it hangs
over Conway’s back. Suddenly, his eyes
widen.
322. CLOSEUP – MARIA
A distorted view of her. Youth and beauty
seem to be vanishing.
323. CLOSEUP – GEORGE
His eyes are glued on her.
GEORGE
(a frightened whisper)
Bob! Bob! Look at her face, Bob! Her
face! Look at her face!
DISSOLVE TO:
324. MEDIUM SHOT – NIGHT
On the backs of the two men, who bend
over Maria. CAMERA DRAWS BACK as they
straighten up. Both stare down aghast
at the girl, whom we do not see.
325. ANOTHER ANGLE
