Forgive me. I should have told you it
is quite common here to live to a very
ripe old age. Climate, diet, mountain
water, you might say. But we like to
believe it is the absence of struggle
in the way we live. In your countries,
on the other hand, how often do you
hear the expression, “He worried himself
to death?” or, “This thing or that killed
him?”
CONWAY
Very often.
CHANG
And very true. Your lives are therefore,
as a rule, shorter, not so much by natural
death as by indirect suicide.
CONWAY
(after a pause)
That’s all very fine if it works out.
A little amazing, of course.
? 520 ?
CHANG
Why, Mr. Conway, you surprise me!
CONWAY
I surprise you? Now that’s news.
CHANG
I mean, your amazement. I could have
understood it in any of your companions,
but you – who have dreamed and written
so much about better worlds. Or is it
that you fail to recognize one of your
own dreams when you see it?
CONWAY
Mr. Chang, if you don’t mind, I think
I’ll go on being amazed – in moderation,
of course.
CHANG
(chuckles)
Then everything is quite all right,
isn’t it?
They exit scene together.
EXT. GARDEN[10]
178. MED. CLOSE SHOT
On a garden bench Gloria slumps languidly.
Suddenly we hear Barnard’s voice, yelling.
Gloria quickly turns her back. Barnard
runs into scene.
BARNARD
Honey, it’s terrific! Terrific! I just
saw something that will make your hair
stand on end. You see those hills over
there? Gold! Gold! Popping right out
of them! Tons of it!
(conspiratorially)
Now look, you keep this under your hat,
because if those other monkeys hear
about it, they’ll declare themselves
in. But if I can mine that stuff, I’ll
throw a bombshell into Wall Street.
Now look, I’ve got a plan – and if I—
Gloria begins coughing heavily. Barnard
notices how pale and haggard she looks.
BARNARD
Aw say, honey, you aren’t feeling well,
are you? Look, don’t pay too much attention
to what those doctors tell you. I’ve
seen an awful lot of people fool them,
and I’ve got a hunch that this place
is going to be good for you. Honest,
I have.
(waits for her reaction – receives none)
Come on now. Come on. You be a good
kid, and snap out of it, and I’ll cut
you in on the gold deal. Look, I’m going
up and make a deal with Chang – right
now.
He enthusiastically exits scene.
INT. LOVETT’S ROOM
179. CLOSE SHOT
Lovett enters warily, sits down at his
desk and begins to write in his journal.
? 521 ?
INSERT OF WHAT HE WRITES:
THE DIARY OF ALEXANDER P. LOVETT
2nd Day at Shangri-La
“This place is too mysterious!”
He looks up, sees himself in a mirror
and gives a start. Then, chuckling to
himself reassuringly, he looks around
warily and continues to write.
DISSOLVE TO:
EXT. SOMEWHERE IN SHANGRI-LA
180. FULL SHOT
It is a bright, cheery morning. Conway
is drinking in the beauty of his surroundings.
He comes into the area where the horses
are stabled. Two men are busily grooming
the horses.
CONWAY
(cheerily)
Good morning!
MEN
Good morning, Mr. Conway!
CONWAY
Oh, you speak English, do you?
MEN
Yes, sir.
ONE OF THE MEN
Would you like to take a ride, Mr. Conway?
CONWAY
No, thanks. Not just now.
Suddenly, Conway is startled by the
sound of hoof-beats and, looking up,
is in time to see ‘the girl’ of the
previous sequence (Sondra) fly by him
on a horse – screaming delightedly.
As she passes him, she waves.
CONWAY
(instantly changing his mind)
Well, I think I will take that ride!
181. MED. SHOT – CONWAY
As he rides off in pursuit of her.
182. SEVERAL SHOTS OF THE CHASE
Showing Sondra successfully eluding
him – as he closes in on her.
183. MED. LONG SHOT – BOTTOM OF A HILL
Sondra whizzes by. As we stay on the
shot – Conway rides through in exciting
pursuit.
184. ANOTHER ANGLE
Showing Sondra disappearing behind a
mountain waterfall. Conway dashes up,
but she is lost from sight. He wheels
around several times – and unable to
find her, looks puzzled. Finally, giving
up, he starts slowly back. After a few
moments he is startled by her laughter,
and glances around.
? 522 ?
185. LONG SHOT
From his view – shooting upward. High
up – near the summit of the hill – we
see Sondra – waving and laughing. Then
she swings her horse around and disappears.
186. CLOSEUP – CONWAY
As he smiles – amused and interested.
DISSOLVE TO:
187. LONG SHOT – SONDRA
As she swims in a mountain stream, apparently
in the buff. From a distance, we see
her climb onto a rock to dry off.
188. CLOSEUP – SONDRA
As she shakes her shimmering hair.
189. MEDIUM SHOT – CONWAY
He has caught up to her tethered horse
and is skulking around trying to find
out where she is.
190. CLOSE SHOT – A SQUIRREL
A squirrel, near to Sondra, chatters
excitedly.
191. CLOSE SHOT – SONDRA
She can apparently understand the squirrel’s
warning. She hurries to dive back into
the water and swim to the other side.
She comes up, spots Conway and watches
him from hiding, behind some bushes.
192. MEDIUM SHOT – CONWAY
Conway has discovered her clothing and
is constructing a kind of scarecrow
on a bush out of them. As a crowning
touch, he adds a flower to the effigy,
his eyes twinkling at his little joke.
With one final glance over his shoulder,
he turns to leave.
193. CLOSE SHOT – SONDRA
She stifles her laughter as he vanishes
from view.
DISSOLVE TO:
INT. DINING ROOM – NIGHT
194. FULL SHOT
Lovett and Barnard are at the table
waiting for the others. Several servants
are in the b.g. George paces nervously
in front of the door.
195. MED. SHOT AT TABLE
Lovett and Barnard. Barnard nibbles
at something.
BARNARD
Bah! Fossils! Why? What for? Running
around digging up a lot of old bones!
You didn’t dig yourself out of one of
those holes by any chance, did you?
Lovett is about to reply, when he realizes
he is being made fun of, and gives a
tentative chuckle.
INT. CORRIDOR
196. MEDIUM SHOT
Conway is coming down the corridor.
George comes out of door to dining room
and starts forward. Conway walks along
in a cheerful mood, singing as he goes,
a Cockney song.
? 523 ?
GEORGE
(forces a smile)
You seem gay. Did you find out anything?
197. CLOSE TRUCKING SHOT WITH THEM
As they walk back toward dining room
door.
CONWAY
Well – I heard that if you want a man’s
wife, she’s yours, if he’s got any manners.
GEORGE
Nothing about the porters yet?
CONWAY
Porters?
GEORGE
Good heavens, Bob, we’ve been here two
weeks and we haven’t found out a thing.
CONWAY
Well, we haven’t been murdered in our
beds yet, George, have we?
GEORGE
I’m afraid the porters are just a myth.
(tensely)
I guess we never will know why we’re
here, or how long we’re going to be
held prisoners.
CONWAY
Shhh!
They have reached the door and start
into dining room.
INT. DINING ROOM
198. MEDIUM SHOT
As Conway and George enter, Barnard
calls to them:
BARNARD
Hey, hurry up, you slow-pokes – I’m
starved!
CONWAY
(imitating Chang as he takes his chair)
Please! Please! Do not wait for me!
I eat so very little.
Barnard laughs heartily. George, surily
silent, enters and drops in his seat.
At the same moment, Gloria comes into
the room.
GLORIA
Good evening.
The men greet her, all rising.
BARNARD
Well, I’m certainly glad to see that
it’s all finally organized.
(to servant)
Okay, handsome. Dish it out, and make
it snappy.
As he sits, he looks over at Gloria
and something in her face arrests him.
? 524 ?
BARNARD
Hey, what’s happened to you?
GLORIA
(self-consciously)
Nothing. Why?
BARNARD
Why, you look beautiful.
CONWAY
That’s unkind. Doesn’t Miss Stone always
look beautiful?
199. MED. CLOSE SHOT AT TABLE
Featuring Gloria, Barnard and Conway.
BARNARD
(suddenly)
I got it! It’s your make-up. You’ve
got none on.
Gloria busies herself with her soup,
self-consciously.
BARNARD
And say, honey, you look a million per
cent better. Wholesome, kind of – and
clean. You take a tip from me, and don’t
you ever put that stuff on your face
again. Why, it’s like hiding behind
a mask.
LOVETT
Ha, ha – who are you to be talking about
a mask? What do you mean? You’ve been
wearing a mask ever since we met you.
BARNARD
Have I?
LOVETT
It’s very strange, you know. You’ve
never told us anything about yourself.
Who are you, anyway? Why don’t you take
your mask off for once!
CONWAY
(lightly)
Yes. Unbosom yourself, Mr. Hyde.[11]
BARNARD
(his face has become serious)
All right, I will! I’ll let my hair
down! Why not? It can’t make any real
difference now.
(after a pause)
Hey Lovey, were you ever chased by the
police?
Lovett is halted in his tracks – soup
spoon halfway up to his mouth.
LOVETT
Certainly not.
? 525 ?
200. CLOSE SHOT – BARNARD
BARNARD
Believe me, it’s no fun. When you fellas
picked me up at Baskul, they’d been
on my tail for a year.
LOVETT
(skeptical)
The police?
BARNARD
Uh-huh.
(after another pause)
Did you ever hear of Chalmers Bryant?
CAMERA PULLS BACK to include the others.
They look shocked.
CONWAY
(the first one to make the connection)
Chalmers Bryant!
BARNARD
Bryant’s Utilities – that’s me.
George is the only one unconcerned.
He is deeply absorbed in thought – his
food has remained untouched. Lovett
suddenly explodes.
LOVETT
I knew it. I knew I had a reason for
hating you! Sir, you’re a thief.
GLORIA
He never stole anything from you , did
he?
LOVETT
I have 500 shares of Bryant Utilities
that I bought with money that I saved
for 20 years teaching school, and now
I couldn’t sell it for postage stamps.
201. MED. SHOT – GROUP
Featuring Barnard.
BARNARD
That’s too bad. I got a half million
shares. My whole foundation! And now
look at me!
LOVETT
A colossal nerve you have sitting there
and talking about it so calmly – you,
the swindler of thousands of people—
BARNARD
You know, that’s what makes the whole
thing so funny. A guy like me starts
out in life as a plumber – an ordinary,
everyday, slew-footed[12] plumber –
and by the use of a little brains, mind
you, he builds up a gigantic institution,
employs thousands of people, becomes
a great civic leader. And then the crash
comes – and overnight he’s the biggest
crook the country ever had.
? 526 ?
LOVETT
You are a thief, sir, and a swindler,
and I, for one, will be only too glad
to turn you over to the police when
we get back.
George can’t stand it any longer.
GEORGE
(suddenly – hoarsely)
What do you mean – “when we get back”?
The sharpness of his voice startles
the others.
GEORGE
What makes you think we’re ever going
to get back? You may not know it, but
you’re all prisoners here. We were deliberately
kidnapped and brought here – and nobody
knows why—
He rises to his feet.
GEORGE
Well, I’m not content to be a prisoner.
I’m going to find out when we’re going
to get out of this place.
(whips out a revolver; grimly)
I’ll make that Chinese talk if it’s
the last thing I do!
He starts out.
202. MEDIUM SHOT
Before anybody can realize what his
intentions are, he has bolted out of
the room.
CONWAY
(calling)
George!
Starts after him.
INT. CORRIDOR
203. MEDIUM SHOT
As George strides determinedly out into
the hall, yelling.
GEORGE
Chang! Chang!
Suddenly he sees a native servant and
his eyes pop insanely. CAMERA PANS WITH
HIM as he strides across to the servant
and grabs him by the shirt-front.
GEORGE
(shaking servant violently)
Where is he? Where’s Chang? Where is
he? Where’s Chang, or I’ll blow your
brains out!
Conway has caught up with him and wrestles
him away from the servant, who stumbles
off in fright.
CONWAY
George, what do you think you’re doing?
? 527 ?
GEORGE
Let me go, Bob!
George pushes Conway away from him and
starts down the corridor.
CONWAY
George, come back!
GEORGE
Chang! Chang! Chang!
George spies another servant.
GEORGE
Come here, you! Come here!
The servant, frightened by his voice,
turns suddenly and starts running. George
levels his revolver and sends a stream
of bullets after the fleeing servant,
who miraculously manages to skate around
a corner, unharmed. Conway runs into
scene, reaching George, and with a quick
flip of his left hand he smacks him
over his revolver arm – and with his
right, he punches him flush on the jaw.
CONWAY
George, you idiot!
George reels for a moment and slumps
to the floor.
204. CLOSE SHOT
As the others trail in.
BARNARD
Had to sock him, eh?
Conway pockets the gun and, bending
over George, a pained expression on
his face, starts to lift him.
DISSOLVE TO:
INT. CONWAY’S ROOM
205. MED. CLOSE SHOT
Conway brings George in, followed by
the others. He drapes him across his
bed. Conway stands by his side, looking
down at him, deeply concerned. After
a moment, Conway shakes him and George
awakens with a start.
GEORGE
Let me up! Let me up!
CONWAY
All right. Sorry, George.
George groans and turns away.
206. MED. SHOT TOWARD DOOR
On Barnard, Lovett and Gloria. Barnard
wanders over to Conway, who appears
lost in thought.
BARNARD
Say Conway, is it true about us being
kidnapped?
Conway shrugs.
? 528 ?
BARNARD
(louder)
I say, is it true about us being kidnapped?
Conway suddenly is aroused from his
reverie by someone he sees off scene.
He looks up alertly.
CONWAY
Mr. Chang!
Chang enters scene, beaming charmingly.
CONWAY
Do you mind stepping in here for a moment?
207. FULL SHOT
As Chang enters. He bows courteously
to the others, who stand in front of
George’s bed. Conway shuts the door
and turns the key. He crosses to a door
leading to another room – and locks
this one, also. Chang watches him curiously.
The others, including George, who is
now alert, are puzzled and somewhat
impressed. Then Conway comes to Chang.
CONWAY
Won’t you sit down?
Chang sits, his placidity unchanged.
Conway pulls up a chair in front of
him.
CONWAY
(very quietly)
Mr. Chang, you have been very kind to
us – and we appreciate it. But for some
reason we are being held prisoners here,
and we want to know why.
208. CLOSE SHOT – BARNARD, LOVETT AND
GLORIA
As Conway’s voice continues, talking
to Chang:
CONWAY
Personally, I don’t mind at all. I’m
enjoying every minute of it.
(dead serious)
But my brother is not of the same opinion,
nor are the others.
(after a pause)
It’s time we were told what it’s all
about.
209. MED. SHOT – GROUP
Conway still continuing:
CONWAY
We want to know why we were kidnapped,
why we are being kept here, but most
important of all – do we get the porters,
and when?
(much too suavely)
Until we get this information, my dear
Mr. Chang, I am very much afraid we
cannot permit you to leave this room.
There is a pause while the eyes of all
are centered on Chang’s face.
? 529 ?
CHANG
(after a pause)
You know, it’s very, very strange, but
when you saw me in the corridor, I was
actually on my way to you. I bring the
most amazing news.
(impressively)
The High Lama wishes to see you, Mr.
Conway.
LOVETT
The High Lama! Who in blazes is he?!
BARNARD
Yeah. I though you ran this joint.
CONWAY
Mr. Chang – High Lamas or Low Lamas,
do we get the porters?
CHANG
The High Lama is the only one from whom
any information can come.
GEORGE
Don’t believe him, Bob. He’s just trying
to get out.
LOVETT
Yes.
BARNARD
Sounds like a stall to me.
CONWAY
One moment. You say the High Lama is
the only one who can give us any information?
CHANG
The only one.
CONWAY
And he can arrange for the porters to
take us back?
CHANG
The High Lama arranges everything, Mr.
Conway.
CONWAY
Well, then he’s the man I want to see.
(to Chang)
Will you come along?
Conway unlocks the door. When he has
opened it, he turns.
CONWAY
Better wait here until I get back. We’ll
soon know where we stand.
INT. CORRIDOR IN HIGH LAMA’S QUARTERS
210. MED. TRUCKING SHOT
With Conway and Chang. Chang walks in
a high state of expectancy. Conway is
grim. They climb a narrow spiral staircase.
? 530 ?
211. MED. CLOSE SHOT
They proceed up the stairs until they
arrive at a large, impressively ornate
double door which seems to open automatically
the moment they approach. Chang remains
without. The moment Conway steps over
the threshold, the doors swing closed.
INT. HIGH LAMA’S CHAMBER[ 13]
212. MED. SHOT
As the doors swing shut. Conway turns
and realizes Chang is no longer with
him.
213. CLOSE SHOT AT DOOR
Conway stands still, glancing around
the room, which is lit so dimly that
nothing definite is distinguishable.
214. FULL SHOT
To show what Conway sees. For the moment,
practically nothing. As his eyes become
adjusted to the darkness, he begins
to sense the architecture and furnishings
of the room. But as yet no sign of life.
SLOW PAN SHOT reveals it to be a dark-curtained
and low-ceilinged room, furnished rather
simply. Very sombre, indistinct tapestries
drape the back walls. While the CAMERA
FOLLOWS CONWAY’S GAZE, MOVING SLOWLY
AROUND, a voice is heard.
HIGH LAMA’S VOICE
(soft and friendly)
Good evening, Mr. Conway.
CAMERA QUICKLY SWINGS OVER to the nethermost
corner of the room where, scarcely visible,
sits an old man of indeterminate age.
In the gloom only the outlines of his
pale and wrinkled face can be seen.
It yields an effect of a fading antique
portrait.
215. CLOSE SHOT – CONWAY
He stares, motionless, at the eerie
vision.
216. MED. SHOT OF ROOM
HIGH LAMA
Please come in.
Conway comes forward warily until he
stands within a few feet of the old
man, his eyes riveted upon him.
HIGH LAMA
Sit here, near me. I am an old man and
can do no one any harm.
CONWAY
Are you the High Lama?
HIGH LAMA
Yes.
217. CLOSE SHOT – THE TWO
As Conway, expressionless, sits down
opposite the High Lama.
HIGH LAMA
I trust you have been comfortable at
Shangri-La, since your arrival.
? 531 ?
CONWAY
Personally, I’ve enjoyed your community
very much. But my friends do not care
for this mystery. They are determined
to leave as soon as—
While he has been speaking, his eyes
have been gradually taking in the details
of the old man. The CAMERA QUICKLY FOLLOWS
HIS GAZE – to crutches leaning against
the man’s throne – then, looking down,
to his legs, one of which appears to
have been amputated.
218. CLOSEUP – CONWAY
CONWAY
(awe and amazement)
It’s astonishing – and incredible, but—
219. CLOSE SHOT – THE TWO
HIGH LAMA
What is it, my son?
CONWAY
You’re the man Chang told me about!
You’re the first – who – two hundred
years ago—
(reverently)
—you’re still alive, Father Perrault!
HIGH LAMA
Sit down, my son.
(pause)
You may not know it, but I’ve been an
admirer of yours for a great many years.
Conway evinces surprise.
HIGH LAMA
Oh, not of Conway the empire-builder
and public hero. I wanted to meet the
Conway who in one of his books, said,
“There are moments in every man’s life
when he glimpses the eternal.”
The quotation captures Conway’s interest
– and his eyes widen.
HIGH LAMA
That Conway seemed to belong here. In
fact, it was suggested that someone
be sent to bring him here.
CONWAY
That I be brought here? Who had that
brilliant idea?
HIGH LAMA
Sondra Bizet.
CONWAY
(secretly pleased)
Oh, the girl at the piano?
HIGH LAMA
Yes. She has read your books and has
a profound admiration for you, as have
we all.
? 532 ?
CONWAY
Of course I have suspected that our
being here is no accident. Furthermore,
I have a feeling that we’re never supposed
to leave. But that, for the moment,
doesn’t concern me greatly. I’ll meet
that when it comes. What particularly
interests me at present is, why was
I brought here? What possible use can
I be to an already thriving community?
HIGH LAMA
We need men like you here, to be sure
that our community will continue to
thrive. In return for which, Shangri-La
has much to give you. You are still,
by the world’s standards, a youngish
man. Yet in the normal course of existence,
you can expect twenty or thirty years
of gradually diminishing activity. Here,
however, in Shangri-La, by our standards
your life has just begun, and may go
on and on.
CONWAY
But to be candid, Father, a prolonged
future doesn’t excite me. It would have
to have a point. I’ve sometimes doubted
whether life itself has any. And if
that is so, then long life must be even
more pointless. No, I’d need a much
more definite reason for going on and
on.
HIGH LAMA
We have reason. It is the entire meaning
and purpose of Shangri-La. It came to
me in a vision, long, long, ago. I saw
all the nations strengthening, not in
wisdom, but in the vulgar passions and
the will to destroy. I saw their machine
power multiply until a single weaponed
man might match a whole army. I foresaw
a time when man, exulting in the technique
of murder, would rage so hotly over
the world that every book, every treasure,
would be doomed to destruction. This
vision was so vivid and so moving that
I determined to gather together all
the things of beauty and culture that
I could and preserve them here against
the doom toward which the world is rushing.
(pause)
Look at the world today! Is there anything
more pitiful? What madness there is,
what blindness, what unintelligent leadership!
A scurrying mass of bewildered humanity
crashing headlong against each other,
propelled by an orgy of greed and brutality.
The time must come, my friend, when
this orgy will spend itself, when brutality
and the lust for power must perish by
its own sword. Against that time is
why I avoided death and am here, and
why you were brought here. For when
that day comes, the world must begin
to look for a new life. And it is our
hope that they may find it here. For
here we shall be with their books
? 533 ?
and their music and a way of life based
on one simple rule: Be Kind.
(pause)
When that day comes, it is our hope
that the brotherly love of Shangri-La
will spread throughout the world.
(pause)
Yes, my son, when the strong have devoured
each other, the Christian ethic may
at last be fulfilled, and the meek shall
inherit the earth.
A long silence ensues during which Conway,
so engrossed is he in all he has just
heard, scarcely notices the Lama, who
has risen slowly and now stands before
him. The Lama reaches down and gently
touches him on the shoulder.
CONWAY
(scarcely audible)
I understand you, Father.
Conway kisses the High Lama’s hand.
HIGH LAMA
You must come again, my son. Good night.
Conway slowly rises to his feet and
turns to leave scene.
INT. UPPER CHAMBER
220. MED. CLOSE SHOT AT DOOR TO LAMA’S
CHAMBERS
Conway comes through. He walks as if
in a trance. CAMERA PULLS BACK as he
continues on his way – bearing an expression
of deep absorption.
DISSOLVE TO:
INT. LOWER CORRIDOR
221. MED. SHOT
As Conway walks toward an open door
at the end of corridor leading to the
garden. Lovett emerges from one of the
rooms and sees him. He beckons to those
inside and almost immediately they come
out and start toward Conway.
222. MED. CLOSE SHOT NEAR GARDEN DOOR
Conway, just about to exit, when the
others catch up to him.
AD-LIB
We thought you were never coming back!
What’d you find out?
When do we leave?
Conway stares at them blankly.
GEORGE
What about the porters?
CONWAY
(vaguely)
Porters?
GEORGE
Didn’t you find out anything about the
porters?
? 534 ?
CONWAY
Why – I’m sorry – but I—
He starts away from them, but they crowd
around him.
AD-LIB
What were you doing all this time?
You’ve been gone for hours.
GEORGE
For heaven’s sake, Bob, what’s the matter
with you? You went out there for the
purpose of—
CONWAY
George. George – do you mind? I’m sorry,
but I can’t talk about it tonight.
He leaves them.
EXT. GARDEN – NIGHT
223. MED. CLOSE SHOT
Shooting toward garden through open
doorway. Conway walks away from the
crowd in f.g., all staring at him, nonplussed.
We see Conway walk through the garden
in b.g. and disappear.
224. CLOSEUP – GEORGE IN DOORWAY
He stares at his brother, off, fearfully.
EXT. SOMEWHERE IN THE VALLEY
225. FULL SHOT
Of a pleasant and peaceful place. Conway
is walking along moodily, drinking in
the pastoral beauty.
226. MED. TRUCKING SHOT WITH CONWAY
As he walks along. He comes to a spot
where a man and a woman are tilling
the soil, and stops to watch them. The
man looks up and, seeing Conway, makes
a friendly bow and doffs his hat. Conway
also bows. The woman curtsies prettily
and smiles. Conway doffs his hat in
acknowledgement.
He is in a cheerful frame of mind and
continues his walk – CAMERA CONTINUING
WITH HIM. He greets several other people.
Upon seeing him, they also bow and doff
their hats. Conway does likewise.
EXT. SOMEWHERE IN THE VALLEY – DAY
227. FULL SHOT
Conway is walking along a street in
the valley. It is a quaint thoroughfare,
unlike anything we have ever seen before.
The small, one-story huts along its
very narrow sidewalk are of singularly
varied architecture – giving the impression
of being “homemade.” As a result of
this, no two are alike. Only one characteristic
about them is similar – their cleanliness.
Something about the atmosphere is fresh
and wholesome and peaceful. In front
of several of the huts native women
sit – some weaving on a tapestry board,
some nursing babies, some asleep, and
some just sitting. The keynote is contentment.
228. MED. TRUCKING SHOT
With Conway, walking along. As he passes,
the women smile at him in the most friendly
fashion. From inside these homes, soft
and soothing music emanates. At the
end of the street, Conway finally arrives
at a garden spot. The suddenness of
this is startling, too – because of
its beauty. Sighing contentedly, Conway
throws himself at the foot of an overhanging
tree, and leans against the trunk.
? 535 ?
229. CLOSE SHOT – CONWAY
He throws his head back, shuts his eyes
– in a restful and contemplative mood.
He remains this way quietly for a few
seconds, when he is attracted by the
singing of a chorus of children’s voices.
He glances around.
230. LONG SHOT
From Conway’s angle. In the shadow of
a row of overhanging trees which form
an arch, a group of fifteen or twenty
children sing a hymn, or nursery song
– in English. Sondra (the violin girl
of previous scenes) stands in front
of them, a baton in hand, conducting
them.
231. CLOSE SHOT – CONWAY
He smiles at the sight – and springing
to his feet starts in their direction.
232. MED. SHOT
Of Sondra and the children, as Conway
saunters into the scene behind her.
He finds himself a comfortable place
under a tree and sits down. The children,
still singing, have seen his approach
and crane their necks curiously.
233. CLOSE SHOT – SONDRA
She waves her baton and sings with the
children. Then she notices they are
being distracted and casually turns
her head. She is somewhat startled at
seeing Conway, but quickly recovers
her composure, and smiles wanly.
234. CLOSE SHOT – CONWAY
He smiles also.
CONWAY
Do you mind?
235. WIDER ANGLE
To include Sondra, Conway and some of
the children. They finish the song,
and Conway applauds. Sondra curtsies
prettily. She turns to the children.
SONDRA
This is Mr. Conway, children.
236. MED. SHOT
In unison the twenty children curtsey.
CHILDREN
(all together – sing-song)
Good morning, Mr. Conway.
CONWAY
How do you do?
CHILDREN
Very well, thank you.
Conway scrambles to his feet and does
an exaggerated bow. Sondra laughs delightedly.
SONDRA
All right, children. We will now sing–
She lifts her baton and the thin, piping
voices fill the air.
? 536 ?
237. CLOSEUP – CONWAY
He lights a cigarette and, leaning against
a tree, studies Sondra’s face – impressed
by her beauty.
238. CLOSEUP – SONDRA
She slyly glances backward, and a self-conscious
smile covers her face.
239. MED. SHOT
As a child from the ranks breaks and
comes to Sondra, who leans down to listen
to the child – who whispers in her ear.
Sondra, murmuring, “Of course, dear”
and still waving her baton is, for the
moment, uncertain what to do. Then turning
to Conway, holds out the baton to him.
SONDRA
Do you mind?
Conway snaps out of his reverie and
jumps forward.
CONWAY
Not at all.
He takes the baton from her.
SONDRA
Thank you.
And, taking the child by the hand, she
exits.
240. CLOSE SHOT – CONWAY
Conducting the chorus in all seriousness
– albeit a trifle awkwardly. He turns
his head to watch Sondra, and when he
looks forward again, finds himself off-beat.
To cover his embarrassment, he smiles
foolishly.
241. MED. SHOT
They come to the end of the song, but
Conway, whose eyes are searching for
Sondra, is oblivious of this and continues
to conduct mechanically. The children
break into laughter.
242. MED. CLOSE TRUCKING SHOT
With Sondra as she returns with the
child clinging to her. As she turns
a bend, she looks up, surprised.
243. CLOSE SHOT – SONDRA
As she laughs heartily.
244. CLOSE SHOT – CONWAY
CONWAY
All right, children. Now teacher is
going to be very busy this afternoon,
so school’s dismissed!
The children break into squeals and
race off. THE CAMERA FOLLOWS THEM as
they cross a footbridge, gleefully doff
their clothes and with yelps and cries
leap into a stream.
245. MED. SHOT – CONWAY AND SONDRA
Favoring Conway.
CONWAY
Oh, please. I hope you’re not going
to run away this time.
? 537 ?
SONDRA
(extending her hand)
My name’s Sondra.
CONWAY
I hope you’ll forgive me for—
He hears curious, fluttering music coming
from somewhere.
CONWAY
(looking around)
You know, each time I see you, I hear
that music. What is it?
SONDRA
Oh, you mean my pigeons.
THE CAMERA SHOWS PIGEONS swirling overhead.
Sondra pulls a miniature flute from
one of her pocket.
SONDRA
(showing him)
It’s these little flutes that I attached
to their tails. See? Come along with
me, and I’ll show you how I put them
on.
They exit scene.
INT. PIGEON HOUSE
246. MED. CLOSE SHOT
Of a large coop where pigeons are bred
and raised. The pigeons flutter around,
landing on Sondra and Conway, as she
shows him her collection with pride.
She grabs one pigeon and ties one of
the miniature flutes to its legs.
SONDRA
You see, this is how we tie them on.
And by varying the size of the flutes,
I can get any notes I wish. The wind
does the rest. Here’s a little fellow
who lost his!
She grabs another pigeon, ties a flute
to its legs.
CONWAY
(wonderingly)
Was this your idea?
SONDRA
Yes. Hold this pigeon.
CONWAY
You suggested my being brought here,
didn’t you? What gave you the idea I’d
fit in?
SONDRA
That was easy. I read your books.
CONWAY
Oh, you’ve read my books. You do more
things! What have my books got to do
with it?
SONDRA
I saw a man whose life was empty.
? 538 ?
CONWAY
A man whose life was empty!
SONDRA
Oh, I know. It was full of this and
full of that. But you were accomplishing
nothing. You were going nowhere, and
you knew it.
Conway scrutinizes her face intently.
SONDRA
As a matter of fact, all I saw was a
little boy whistling in the dark.
CONWAY
A little boy whistling in the dark!?
Do you realize that there is a British
cruiser waiting at Shanghai, smoke pouring
out of its funnels, tugging at its moorings,
waiting to take Mr. Conway back to London?
Do you know that at this minute there
are headlines shrieking all over the
world the news that Conway is missing?
Does that look like a man whose life
is empty?
SONDRA
(after a pause)
Yes.
CONWAY
(good-naturedly)
You’re absolutely right. And I had to
come all the way to a pigeon house in
Shangri-La to find the only other person
in the world who knew it. May I congratulate
you?
She laughs merrily and shakes his hand.
SONDRA
I really only brought you here to show
you my pigeons!
CONWAY
Don’t worry about the pigeons. From
now on, you can put flutes on my tail
and bells on my feet!
She turns to leave, and he follows,
exiting scene.
DISSOLVE TO:
EXT. SOMEWHERE ON TOP OF A HILL
247. MEDIUM TRUCKING SHOT
Sondra and Conway, walking. This spot
is on top of a hill overlooking the
splendor of the valley below.
248. CLOSER TRUCKING SHOT
They walk along silently for a few seconds,
while Conway studies her face speculatively.
CONWAY
There are so many questions I’d like
to ask you, I hardly know where to begin.
? 539 ?
SONDRA
I’ll help you. To begin with, you’d
like to know what I’m doing here. Whether
I was born here.
CONWAY
Thank you.
SONDRA
Well, I was almost born here. It took
place in that wild country beyond the
pass. My father and mother were in a
party of explorers who got lost and
wandered around for a year. When Chang
found us, only Father and I were alive.
But he was too weak to climb the pass.
He died on the way. I was brought up
here by Father Perrault himself.
CONWAY
Father Perrault! I envy you. I talked
to him last night.
SONDRA
Yes, I know.
