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.
? 486 ?
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.
? 487 ?
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.
? 488 ?
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.
48. 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.
? 489 ?
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
55. 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.
? 490 ?
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
66. MEDIUM CLOSE SHOT
A Chinese officer is on the phone.
CHINESE OFFICER
A Douglas plane[6] 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.
? 491 ?
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.
? 492 ?
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.
? 493 ?
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.
? 494 ?
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.
? 495 ?
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.
90. 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.
91. 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.
? 496 ?
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.
? 497 ?
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.
? 498 ?
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.
98. 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.[7]
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.
? 499 ?
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?
106. 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.
? 500 ?
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.
107. 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[8]
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?
? 501 ?
EXTERIOR OF PLANE
112. MEDIUM SHOT
Where George, Lovett and Barnard wait,
a trifle awe-stricken. Conway joins
them. Gloria has stayed inside.
113. 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.
114. 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 travelling
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.
? 502 ?
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—
116. 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.
118. 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
119. 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.
121. 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.
? 503 ?
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.
123. 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.
124. 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.
126. MED. CLOSE SHOT
As Chang approaches Conway.
CHANG
Welcome to Shangri-La.
EXT. MOUNTAIN TOP
127. 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.
? 504 ?
DISSOLVE TO:
EXT. A GARDEN
128. 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.
131. 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.
133. CLOSE SHOT – CONWAY
As he returns her gaze, impressed by
her beauty.
GEORGE’S VOICE
Come along, Bob. Coming, Bob?
134. CLOSE SHOT – CONWAY
His eyes still on the girl above. He
starts up the steps, staring at her,
then stumbles.
135. CLOSE SHOT – THE GIRL
Laughing at his embarrassment.
136. 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
138. 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.
? 505 ?
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.
? 506 ?
CONWAY
It’s better than freezing to death down
below, isn’t it?
BARNARD
I’ll say.
INT. GLORIA’S ROOM[ 9]
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.
141. 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!
? 507 ?
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.
? 508 ?
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
