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    Anaconda 1997

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    8emy2yv6o
    This document is a 3 page draft of a script for a film called "Anaconda". It provides setting and context for the story. The summary is: The script introduces a poacher on his riverboat in the Amazon who is being stalked and attacked by an unseen presence in the water. As his boat is rocked more violently, the floorboards start splintering from below. The poacher scrambles to escape through the nailed door as the floor gives way. He climbs to the top of the boat's mast in terror but has nowhere left to run. With his final bullet, the driven man takes his own life. The script then shifts to introduce the city of Manaus, Brazil and

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    © All Rights Reserved
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    Anaconda 1997

    Uploaded by

    8emy2yv6o
    284 views103 pages
    This document is a 3 page draft of a script for a film called "Anaconda". It provides setting and context for the story. The summary is: The script introduces a poacher on his riverboat in the Amazon who is being stalked and attacked by an unseen presence in the water. As his boat is rocked more violently, the floorboards start splintering from below. The poacher scrambles to escape through the nailed door as the floor gives way. He climbs to the top of the boat's mast in terror but has nowhere left to run. With his final bullet, the driven man takes his own life. The script then shifts to introduce the city of Manaus, Brazil and

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    This document is a 3 page draft of a script for a film called "Anaconda". It provides setting and context for the story. The summary is: The script introduces a poacher on his riverboat in the Amazon who is being stalked and attacked by an unseen presence in the water. As his boat is rocked more violently, the floorboards start splintering from below. The poacher scrambles to escape through the nailed door as the floor gives way. He climbs to the top of the boat's mast in terror but has nowhere left to run. With his final bullet, the driven man takes his own life. The script then shifts to introduce the city of Manaus, Brazil and

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    284 views103 pages

    Anaconda 1997

    Uploaded by

    8emy2yv6o
    This document is a 3 page draft of a script for a film called "Anaconda". It provides setting and context for the story. The summary is: The script introduces a poacher on his riverboat in the Amazon who is being stalked and attacked by an unseen presence in the water. As his boat is rocked more violently, the floorboards start splintering from below. The poacher scrambles to escape through the nailed door as the floor gives way. He climbs to the top of the boat's mast in terror but has nowhere left to run. With his final bullet, the driven man takes his own life. The script then shifts to introduce the city of Manaus, Brazil and

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    You are on page 1of 103

    ANACONDA.

    DRAFT BY

    MARK HASKEU. SMffH

    DECEMBER 1, 1995
    1 EXT. RIO AMAZON.AS, BRAZIL DUSI< 1

    A high aerial view of the Amazon, winding as far as the eye


    0 can see·through the planet's least;..Jmown rain forest. The
    last flare of the settin9 sun casts an amber glow.
    DISSOLVE TO:
    . 2 EXT. UNRAMED TRIBUTARY/RIVERBOAT - RIGHT 2

    Dark water reflects the moc;m. POV AT WATER LEVEL, slowly


    weaving toward the kerosene running lights .of a traditional
    AMAZON RIVERBOAT sitting slightly lopsided in the water. We
    may catch a glimpse of a body lying by the river's edge near
    the boat.
    2A EXT. RIVER - CORTIRUOUS 2A
    The POV glides in as the occasional squawk of a parrot or
    chatter of a monkey punctuates the otherwise ominous s,ilence
    of the jungle. Now circles the rivm:boat, .then dips .
    underwater ••• we should see that·the BOAT'S ERGIN'E is battered
    and non-functional, beyond repair. srx of the engine
    grinding, someone trying desperately, futilely to get it
    started. ·

    U2B EXT. RIVERBOAT ( ,i RAMONA 11 ) - RIGHT 2B


    Faded lettering on her shallow draft hull informs us she's
    the "RAMONA". A poacher's pride and joy, stocked with BETS,.
    TRAPS, CANISTERS: tools of the trade, but in this instance
    chosen with a single.prey in mind. From inside the CREW
    CABIN we can .just hear a SIRGLE, EXHAUSTED Vc;:>ICE, speaking in
    Portugese, and, ~ery low on the soundtrack, S'l'RARGE MUSIC,
    Bra.zilj,.an pop, playing half-speed •••.
    3 INT. RAMONA CREW CABIN NIGHT 3

    The music a bit .louder; the VOICE, still° of f-sc;reen, more.


    obviously desperate. THE CAMERA takes in the cramped
    quarters, illuminated by the flickering light of ·an OIL LAMP.
    There is a single chair and a small table and FOOR BUNI<S,
    each one showing evidence of having been recently
    occupied •.• a duffel bag near one, clothes str.ewn about ·
    another, yet another unmade witl; a BOOMBOX resting.near.the
    pillow. THE MUSIC cames £ram the boombox: we see a tape ·
    spinning, slower and slower, as '.the batteries die_. •• ·
    The camera cames to a rest on the source of the voice: an
    older INDIAN MAN, his face scarred and glistening with the
    sweat of fear. He sit~ before a SHORTWAVE RADI~, frantically

    (CONTINUED)
    i
    shooting script - l!lovember 22
    3 CONTINUED: 3·

    attempting to bring the dead piece of hardware to life--


    . twisting the dial, babbl.ing into the mike.· All in vain: we
    .don't even hear static from the radio.
    A SUDDEN SMALL BUMP shakes the boat, and the. POACHER. Be
    freezes for .a mament, then_quiakly rises, grabbing a NEARBY
    GUN.and a HAMMER. Be moves to the door, passing a picture
    tacked on the wall: 'TBE PICTURE shows THREE MEN, proudly
    holding a LARGE SRAI<E, about twenty feet long. The SRAI<E is
    muzzled and harnassed with high tech trapping apparati. We
    recognize one of the men as·the poacher ••• the second man has
    Indian features. The third is a particularly cocky
    ·Caucasian, wearing a ~-s~ with the ROLLING STORES
    TRADEMARK tongue on it.

    4 EXT. BOAT DECK NIGB'1'. 4

    The Poacher dares to emerge •. Be looks around, firearm


    leveled. Be mumbles in. Portugese ••• threats mixed with pleas
    punctuated by prayers, the ramblings of a schizopbrenic ••• as
    he crosses the deck, his eyes_darting to the :river.
    S-SBAPED WAVES roll across · the dark .,water' s surface and lap
    a_gainst the hull, rocking the boat. Be gets on all fours and
    uses the hammer claw to pry planks fram the wooden deck.

    0 A bucket rolls across the deck. Be spins, FIRES, CLANGS a


    hole through it. Hesitates, _goes back to his chore, still
    mumbling. Be tears up same deck planks, drags them into the.
    cabin and slams the door. We hear ·now HAMMERING SOUlllDS.
    5 INT. RAMONA CREW CABIN - NIGHT 5

    The poacher begins to nail wood pl~ks to the doorframe.~.


    6 POV-- UNDERWATER 6

    The unseen presence ·seems to.be·casing ~he boat, looking for


    the most vulnerable area of attack.
    7 INT. CREW CABIN NIGHT 7
    ' .
    Nailed inside the cabin, ·· the poacher. backs to the table,
    taking a swig of liquor before· moving back to the radio. Now
    he simply hits it. And now we hear a sputter of static.
    HOPE. Be picks up the mike and begins to talk into it but at
    j_ust that monient: ·
    SOMETHING BUMPS UP UNDERNEATH THE FLOORBOARDS. A SUDDEN
    JOLT, strong enough to knock the radio off the table, which
    shatters into pieces when it hits the f~or. The Poacher's

    (CORTil!IUEQ) ~
    Shooting script - December 1 3.
    7 CORTIRtJED: 7

    eyes, wide with terror, lock on ·the £loorboards. More


    BUMPING AND THUMPIRG. Little by little the old floorboards
    0 are giving way, the rusty nails shaking .loose. The Poacher
    leaps across the cramped room and begins prying off the
    pl~s which he'd just nailed over the door.
    The floorboards are buckling up and splintering. The Poacher
    whimpers and cries, his hands bloodied and fingernails split
    as he yanks the boards from-the door. Suddenly, the
    floorboards all splinter up -- just• as the Poacher frees
    himself out the door.
    8 EXT. RIVERBOAT ( II RAN:>RA II ) NIGHT 8

    The Poacher scrambles up the few steep steps to the cabin


    roof. Be ·looks behind h,im and_ sees samething terrifying. se·
    climbs to the top of the mast rising above the cabin.
    BOGE ON TBE FIGURE
    Be's totally crazed. Lips aquiver. Sweat streaming. He
    looks down, gasps in terror and quickly pulls his legs up as
    far as he can -- samething's coming. He starts to recite the
    - J LORD'S PRAYER in Portugese as he takes the GUN and shoots
    into the water-- once, twice, three times.
    Again, in vain. The boat is being violently rocked by the

    u attacking creature. Be checks his gun, sees that·he has one


    bullet left. Be is beyond fear now: seems.somehow at peace
    as he puts the gun to his head, finishing his prayer •
    .
    9 EXT. UNNAMED TRIBUTARY /RIVERBOAT . · - RIVER 9

    We are a long distance from the Ramona, barely making out its
    sm~ll form on the quiet, black river.
    . POACHER (0. S.)
    Aine'm •• ·•

    A. SINGLE,SBOT .e~hoes. And we ·


    FADE OUT.

    EXT. · MANAUS, BRAZ IL - DAY 10


    Like· before, a high aerial view of the Amazon,- but this time
    civilization encroaches. A spr,awling city has edged its
    jagged claw into the jungle -- urban concrete nibbling at the
    massive green.
    A silver jet slopes down and lands on the edge of the city.
    Shooting script -.December 1 4.

    11 EXT. TAXI VAN - DAY 11

    0 The VAN slams on its brakes, screeching to a stop, barely


    missing an INDIAN MAN lugging a large basket of fruit. The
    occupants of the Van l~ch against the seats.

    r
    The Indian Man moves on, after giving the driver of the van
    an international hand signal, and the van continues to
    navigate the clatter and color.of Manaus: NATIVES in feathers
    walking 1!µ1long· CITY PEOPLE in business suits .. ..KIDS playing·
    soccer in a muddy field that is flanked by modern office
    buildings •••• STREET VENDORS selling everything they
    own •••• STREET WALKERS selling everything imaginable ••••
    llA EXT. DOCK - DAY llA
    The van passes across a bridge onto the dock teeming with
    PEOPLE caning a.nd going. CRATES filled with e_lectronic goods,
    ·soda, beer, BARG~S heavily laden. BOATS of all ·sizes and
    shapes -- RIVERBOATS preparing for a long_jo~ney,hammocks
    swinging from their decks, maybe a band plays as one
    riverboat pulls out.
    The van pulls up next to a waiting SPEEDBOAT The AR.IAO JUNGLE
    TOWER HOTEL printed across the stern and disgorges the
    jostled occupants. First out is GARY, a handsome American, he
    shoots a look at TERRI PORTER, an attractive woman in her
    twenties, confident, tough, independent. Terri's been riding
    in the front passenger seat: GARY'S expression seems to say:
    "What have you gotten us in to 11 • ·

    GARY helps DENISE KALBERG, early twenties, a fresh, small-


    town sc·rubbed quality about her, as they unload their
    equipment. From their body language and playful manner it• s
    apparent that they are lovers. Denise wears_a funky jeweled
    -crucifix from her neck.

    11.AA AERIAL SHOT -- DAY 11.AA

    As the speedboat leaves the city, we see the two great rivers
    of the Amazon merging __; the brown water of THE AMAZON and
    the black water of the- RIO NEGRO -- fingers of currents
    distinctly intertwined. ·
    shooting Ser ipt _ December l 5 •.

    12 EXT. HOTEL DAY· 12


    ,,,-'\ . f
    (J ;~a:::~~!gs~:e~f :~~i~ct~e~~hJ~;;! :~~fa:~:
    jungle like an elaborate treebouse. Terri, Denise, and Gary
    step ·out and start to unload their luggage. Denise throws her
    arms around Gary, excited. They take a moment to share a
    passionate kiss. .Terri watches them for a beat, wistful,
    before carrying her gear into the hotel.
    13 EXT. HOTEL CA'l'WALRS - DAY 13
    Gary and Denise lead the way down one of the catwalks. Birds
    of every color flit in the jungle canopy. Monkeys chatter
    from the trees. They reach .a room and Denise unlocks the
    door. She turns to Terri· and bands her a roam.key.
    DERISE
    I don't think we'll see you for dinner.
    GARY
    (playfully) .
    She's gonna tie me to the bed.
    DERISE
    Handcuffs, Gary. Handcuffs.
    Denise playfully shoves Gary.into the roam and closes the
    door. Terri smiles wryly and walks 9n • .
    ANGLE:
    Terri comes upon a platform with a clear view of .the river,
    she sees a young black man.slouching on a camera case. The
    case is marked with the logo for RATIONAL GEOGRAPHIC. He is:
    DANNY. Terr_i approach~s him.
    . TERRI
    ·You must ··be the cameraman.
    'Danny peeks out from above his. Raybans.
    DANNY
    Where's the director?
    TERRI
    That'd be me.
    DANNY
    You're kidding me, right? You're much too
    short to be a director. You got to be
    tall. You' can't possibly be the director.

    (CORTI&UED)
    Shooting Script - December l . 6.
    :J.3 CONTINUED: 13

    TERRI
    It's my first time. They waived the
    height requirement.
    0 DAR~
    Oh no! You're a first timer! Wet behind
    the ears ••• rookie ••• and short!
    TERRI.
    · Yoll: got a problem with that?
    .DANBY ,
    Yeah. I got a problem with that. Let.me
    tell · you, ,r,hen they called and asked me
    to do this job I turned it down flat •
    . I've been on location for five months and
    I was startin' to get used to livin'
    without plmnbing.
    Danny.breaks into a huge grin •
    . DANBY .
    But when they said my old pal from
    college was directing ••••
    He stands and gives·her a warm hug.

    u ..
    · You couldn't resist.
    WRY
    TERRI

    Hey. I have to be here. This is your big


    break. I wouldn't miss ~t.
    TERRI
    I wasn't earning down here without you •.
    DANNY
    ·JG.~ess ·I'. shouldl" ve asked for more money •
    . ,TERRI
    ·· ( smilin_g back)·
    We W9uld ve paid it.
    1

    Danny stands and picks up his gear.


    ,DANBY
    .Who Is the egghead in charge?
    TERRI
    Dr. Steven Cale.

    (CORTIRUED)
    shooting Script_ Deeember l 7.
    13 CONTINUED: ( 2) 13

    DANNY
    Isn't he the guy you •••• ?
    TERRI
    That's all in.the past. Bo more messy
    ramance for me. I'm footloose and fancy
    free.
    DANNY
    Well alright. we' re gonna have some .. fun.
    TERRI
    or die trying.

    OMIT 13A
    14 INT. HOTEL BAR - RIGHT 14
    Night encroaches. and the jungl~ begins to came ~l;ve with
    · sounds_., Danny sits at a table drinking a beer and smoking a
    Dannemann Speciale (small cigars native to Brazil). Gary
    enters looking exhausted andwalks over to Danny.
    GARY
    Hey. How's it goin'?

    u DANNY
    Just kickin' back, feedin' the mosquitos.
    Danny extends his hand.
    DANNY
    Danny. Cameraman.
    GARY
    · Gary Sound. P·leased to make your
    acquaintance.
    They shake hands. Gary sits. At Danny• s signal .a Waiter .
    brings a couple of beers to the table and hands _;t to Gary.
    Gary vigorously swats the bugs that swarm around him.
    GARY
    Christ. These bugs ••• who invited them?
    DANNY
    They only take a pint. I donate every
    night. Better to get it over with in one
    sitting than have them peck at you all
    day.

    ( COll'l'IllltJED)
    Shooting Sar ipt - necember l s.
    14 CONTINUED: 14

    Gary wipes his face with a bandana.

    CJ GARY
    They·must be attracted to the sweat. Bow
    is it this hot at night?
    DANBY
    Just tll,ink of it as J!lew York in August.
    Gary takes a lon1;1 pull on 't:he beer.
    GARY
    You from the City?
    DANBY
    Brooklyn.
    GARY
    Yeah!? Me too. Imagine that. Two guys
    from Brooklyn in the middle of the
    jungl:,e.
    DARBY .
    It's not just a job, it's an. adventure.
    GARY
    Yeah, well, the pay sucks on this
    adventure.
    Denise walks into the bar.
    DENISE
    Gary? Gary?
    GARY
    · (to Danny)
    But the fringe-benefits are exce;Llent.
    Gary. quickly exits·. Danny finishes his beer.

    15 INT. TERRI'S ROOM RIGHT 15


    In the pitch black of the jungle at night, Terri sits at a
    bamboo desk, illuminated by her laptop camputer. The wall
    behind her is not wood but actually·a large piece of screen
    and the sounds and smells of the jungle drift into the roam.
    She hears the eerie calls of bat hawks hunting over the
    river, a few thumps on her roof ••• -Just as she's starting to
    get the creeps,·there's a knock at the_ door. She flicks on
    the _light.

    (CORTI~D)
    Shooting Script - December 1 9.
    15 COR'l'INUED: 15

    Ter:['.i opens the door to ~eveal, '·DR. -STEVEN ·CALE (33), a .


    handsome, articulate, and passionate professor of cultural
    Anthropology. Be holds a wrapped package.in his hands.
    0 'l'ERRI
    Steven! When did you get i.n?
    CALE
    Yesterday. I've been out talking to same
    guides. Hoping they might·know the
    whereabouts of our tribe.
    Be hands her the package.
    CALE
    For you. A peace of~eri.ng.
    'l'ERRI
    We're not at war.
    Cale sits on the bed.
    CALE
    Then it's for luck.
    Terri unwraps the package and reveals a intricately woven
    wreath of twigs, dried flowers; and feathers.

    cJ 'l'ERRI
    It's beautiful •
    . CALE
    Shirishama. I bought it from a river
    trader. It has same ceremonial,.
    significance between lovers.
    Terri gives Cale a look.
    · ·'l'ERRI
    .. (sarcastic)
    . Really?· Would that ceremonial
    significance mean cammitment? or is
    monogamy. not a word in the Shirishama-
    vocabulary?
    Cale lets out a groan.
    CALE
    Bow long are you going to hold that
    against me? ·r just wasn't ready. 'l'bat
    doesn't mean I'm not ready now.

    ( COl!t'l'IBUED) .
    Shooting Scr.ipt - December 1 . 10. ·
    15 CON'l'INUED: ( 2) 15

    Terri sits back .in front of her.computer.


    TERRI

    0 What if I'm.not ready?


    Cale looks distressed. Be sighs and looks• out the window_.
    TERRI (CONT'D)
    (sighing)
    Maybe this whole thing .is a big mistake~
    CALE .
    -Look. I'm here for strictly-professional
    reasons. And that's a. premise. I thought
    we could work together.
    TERRI
    It's not just about us, it's about the
    Shir:i-shama. They're out there. Completely
    1
    isolated. They have. their own customs,
    myths, religion. unique. Unlike anything
    . we've exp!rienced. What if we pollute
    that?
    CALE
    We're professionals. We're making a
    documentary. We ca:n do this without
    disrupting the tribe. We've been working
    on this for too long to stop now. And
    despite everything.that's happened, I
    think we make a great team.
    she chews on her thumbnail and considers what he's say.ing.
    TERRI
    I know. I know. I• ve just got a creepy
    feeling. sorry.
    He stands .and :pits his hand on her shoulder •
    . CALE
    .Get over it. This ,is an important
    1
    project
    to both .of us. .
    Terri opens her door.
    TERRI
    You're right. I' 11 see you .in the·
    morning.
    Cale exits.

    (.COR'l'IIIUEb)
    Shooting Script_ oecember l 11. ·
    15 COR'l'IROED: ( 3) 15

    0 16 EX'l'. WA'l'ERFROR'l' - DAWN 16

    Early morning -- the first light of day.


    A massive bulky object slides out of the darkness, moving
    toward CAMERA. It creeks eerily as we begin to make out what
    it is: the bow of. an old rusted barge that has been up and
    down the·Ainazon m~y times.

    17 EX'l'. ·WA'l'ERFROR'l' -- LATER 17


    "RED-EYE" MATEO stands on the deck of the boat, sneaking an
    early-morning swig from his trusty, dented flask. Be listens
    with obvious disinterest as CALE shows him something on a
    map.
    CALE . .
    We'll motor approximately a hundred and
    fifty miles upstream on the Negro,_ then
    proceed down this tributary to ~e
    Abufari reserve.
    Mateo shakes his head "Ro" •••
    CALE (COR'l''D)
    Why not?
    MATEO
    Rapids. Shallows. We go this way.
    Mateo points tq another route on the map.
    CALE
    E~cuse me Captain Mateo, but since I'm
    the . one ._paying· the. bills, .· perhaps ·you' 11
    see clear to go my way.
    ·Mateo.lights a cigarette and looks.at·the map.
    MATEO
    No problem. _It's your boat. And I am just
    a hired hand. We go your· way. Only I
    insist we. take a detour •••• here.
    Otherwise I cannot be responsible.
    He points to a specific tr:i.butary.
    Shooting script - Deoember l 12.

    17A EXT. HOTEL WATERFRONT - DAY 17A

    0 Terri walks toward the fifty five-foot barge of rusted steel


    and peeling paint. It's as flat as a pancake with a square
    .bow and stern. There's a raised, wooden pilot house at one
    end and a rusted crane at the stern. 'l'he boat rides only
    inches above the waterline, burdened with drums of diesel
    fuel, coils of rope, and supply-trunks.
    Terri walks ov~ to Cale and hands him a page of.script.
    Behind them the crew sets up equipnent on_ the boat. Danny
    moves back and forth with his light meter. Gary fiddles with
    cables and tapes. Denise oversees the loading of equipnent
    and supplies; checking them off on her clipboard.
    TERRI
    Steven? Can you look this over?
    CALE
    sure. sleep well?
    TERRI
    Fine. Where's Westridge? I know he
    checked.in.
    CALE
    He'll .be along. Beauty sleep you know.
    WARREN WESTRIDGE, late forties, barely sweating in his ;Linen
    suit, is a distinguished and imposing man; his supercilious
    nature is apparent as he guides the BELLBOY who is carrying
    an imposing stack of monogrammed luggage •.
    ·WESTRIDGE
    Careful! Careful! Just because we• re in
    the.wilds doesn't mean you.can sling my
    luggage .. any wh~ch way.
    Westridge,watches as his luggage thuds on the deck next _to
    Denise.
    . WESTRIDGE
    You there! Young woman 1 Stow that in my
    room.
    DENISE
    I'm not the bellhop. I'm the Production
    Manager.

    (CORTIRUED)

    ------------ ------------~-------
    Shooting Script - 0eoembe:r l 13.
    17A CON'l'INUED: 17A

    WES'l'RIDGE
    'l'hen you can manage my things into my
    roam •
    . 'l'erri approaches him.
    'l'ERRI
    Mr. Wesµ idge_? 'l'err i Porter. ·
    WES'l'RIDGE -
    Ahl 'l'he director. as cadet. Professor Cale
    lent me some of your short films~ You
    have a modicum of. talent, but I will not
    let you get away with any self indulgent
    prattle on this shoot.
    'l'erri is awed by his pomposity.
    'l'ERRI
    Well, thanks • ( BEA'l') Welcome aboard, I
    guess •.
    WES'l'R.IDGE.
    And getting aboard is just what I'm. going
    to do. It's too bloody hot. Are we
    exactly on the equator?
    Terri and Cale·~change a look as Westridge clambers on deck
    0 and into·one of the cabins, banging his luggage against
    anything that gets in. his way ..
    Cale. jumps on board and straps same diving equipment securely
    to a railing. Danny sits on his camera case waiting for the
    shot. Gary and Denise stand next·to him.
    DANNY
    Diving gear?
    .CALE
    It• s ·. a · hobby.
    Terri takes a . snapshot from shore and jumps abo~d as
    · Westridge come~, steaming out of his cabin.
    WES'l'RIDGE .
    I do'not sw-eat the little things, Mr.
    Cale, but my living guarters are .
    uJUnhabital:;>le, and ~•t Is not a little .
    thing. Are you listening. to me?

    (COR'l'IBUED)
    Shooting Script - oecember 1 .14.
    17A CORTINOED: (.2) { 17A

    CALE
    We'll see what·we can do.
    WESTRJ:DGE
    Bow and when?
    TERRI
    We'll knock out a wall, Westridge. I'm
    sure the captain will have no.problem
    · with that. Would you like an .
    entertainment system installed as well?
    WESTRJ:DGE "
    I have a contract, and I will.walk off
    this boat--
    TERRI
    Row's the time to do it, then.
    Westridge doesn't like what he's hearing.
    TERRI.
    You"ve got five.minutes to think about
    it, and then we debark. Go think.
    WESTRIDGE .
    I ••• I will think. r have thought. And I
    will think same·more.
    He walks off, and Cale looks to Terri. She shrugs.
    MATEO
    Ready to cast off1
    ererri and Cale snap to. This is the moment they've been
    waiting for. ·
    1CALE
    Alright everybody! Double check your
    gear! And pray you didn't forget the bug
    spray!
    17B OMIT 17B 17B

    17.AA THE BARGE BEGINS TO MOVE IRTO TBE CARAL LEAVIRG THE HOTEL 17.AA

    Terri stands with Danny, Gary, and Denise.

    (CORTI~D)
    Shooting Script - December 1 15.
    17.AACONTINOED: 17.AA

    TERRI
    (shouting)
    Mr. Westridgel We're ready for you!

    Cale hands Terri the page with an approving nod as westridge


    comes lumbering out of his cabin.
    TERRI
    Thanks.· Here's the script for the
    · establishing shot.
    Sh~ hands him the paper. Westridge skims it.
    WESTRIDGE
    Fine. Fine. Fine.
    TERRI
    (switching into gear)
    Alright! Let's get this in the can!
    She leads Westridge over to his mark. Danny checks the light.
    Gary struggles with the Nagra and boom mike. The cable snakes
    around his legs and is stuck. Be tugs violently on it.
    . TERRI (CONT'D)
    Ready Mr. Westridge?
    Westridge nods.
    0 GARY
    (snapping)
    I'm not ready!
    Gary whips the mike cable around angrily.
    GARY
    (s~ly)
    Just.: give me . a goddamn second here!
    Terri cooly·waits .until.Gary untangles the cord and nods his.
    approval.
    TERRI
    Roll film! Sound!
    DANNY
    Rollin'.
    GARY.
    Speed. Marker.

    Gary dips the mike into camera view and thumps it with his
    hand. Terri'signals Westridge, who clears his throat.

    (CONTINUED.)
    Shooting script - December 1 16.
    17.AACORTINUED: ( 2) 17.AA

    WESTRIDGE·
    our adventure begins one thousand miles
    () from the mouth of the mighty Amazon, deep
    ill the heart of the rainforest. We will
    travel by river barge up through shallow
    _tributaries and unexplored backwaters ill
    search of the elusive •People of the
    Misti', the Shirishama Tribe. The
    Shirishama have lived ill camplete
    isolation and harmony with nature for
    hundreds of years. Qr. Steven Cale, a
    leading expert on this tribe, will pe
    accampanyillg us on our trek to help
    unravel the mysteries of the Shirishama.
    (BEAT) God, that's a mouthful.
    TERRI
    cut. Ok.

    Westridge starts to walk off. Terri ·_just. 1;1tares at h.iJn.


    Westridge moves to the front of the barge carrying a wine
    bottle and offers a benediction to the river.
    WESTRIDGE _
    For God, Queen, and Country! We pray for
    a safe return!
    He then smashes the wine bottle against the bow. Be turns
    0 and sees the puzzled looks of the crew.
    WESTRIDGE
    A cheap chardonnay.
    He goes into his cabin. Danny shuts off his camera and turns
    to Terri.
    DANRY-
    ·Havilig.fun yet?
    Terri.rolls her eyes. Danny. and Gary begin wrapping their
    equipment against the humidity. Cale stands at the railing
    watching the river. Terri- grabs-Denise an~ take~ her aside.
    TERRI
    He is an experienced soundman, isn't he?
    DENISE
    Terri ••• I wouldn't bring a_deadbeat on a
    shoot even if he is drop-dead adorable.

    (CORTIRUED)
    shooting Script - December 1
    17.AACONTINUED: (3) 17.AA

    TERRI
    Look. I'm sorry •. I don't mean to
    overreact. Maybe I'm letting his
    reputation get to me.
    ,DENISE
    (defensive)
    You don't know him.
    TERRI
    You're right. But one pain in :the ass is
    enough and Westridge deserves that honor •.
    If Gary doesn't get his act
    together ••• I'll run sound and we'll leave
    him at the.first village we came to.
    DERISE
    He'll be fine and I can take care of
    myself.
    CUT '1'0:

    OMIT 18
    18.A AERIAL SBOT 18.A

    The boat travels across the Rio Regro. 'l'he rising sun· casts a

    u glow across the vast expanse of water. 'l'errinudges DaD.lly and


    points out some pink river dolphins iii ~e water. Danny pans
    down for a shot.·They pass one or two boats and turns into a
    smaller tributary.

    19 · EXT. AMAZON RIVER - EARLY DAY 19


    The river has thickened, and there are no other boats in
    sight. . Danny_ stands ;near the back -of the barge with .a ,camera
    on his shoulder as he films the :hot, ~ticky jungle •.
    Gary and Denise are on the port side, he's.taping.so:ands on
    the shore. She's making notes. in'h~ expense book. We hear
    the exotic shrills of ·,birds -and the cries of small animals.

    OMIT 20
    21 EXT. AMAZON DAY ,21

    Late afternoon. 'l'he barge continues upriver.

    (CORTIRtJED)
    Shoot~g Script - December l · 18.
    CONTINUED: - 21

    Danny ·is shooting more film of the -jungle. Gary adjusts the
    shotgun microphone to get the sounds of monkeys in the tops·
    of the trees. He hands Denise an extra set of headphones.
    She puts them on and her face registers the otherworldly
    ·sounds she hears -- monkeys screeching -- they're spooked. It
    may· be the encroaching rain. The air crackles. Westridge
    looks for a place to sit, but everything seems filthy. Be
    takes· a handkerchief from his pocket and spreads it on a
    suitable_spot.
    21A ANGLE: 21A.

    The clouds seem to suddenly expand, turning the color of


    lead, darkening the.immediate area. A BOLT OF LIGHTNING
    SPLITS THE s~, and everyone RUNS FOR COVER. as a torrential,
    tropic storm pours sheets of rain onto the barge.
    Mateo struggles in the strong wind to pilot the.barge up the
    churning brown river.
    Everyone hides £ram the rain un~ leaking canvas tenting.
    that is draped across the deck. They all look nmnb and
    miserable and vulnerable to the powers of.nature.
    22 EXT. FARTHER UP RIVER - DAY 22
    The torrential rains continue. Mateo squints into the wind
    and is barely able to see the. shoreline because the rain is
    0 so heavy'. But he's looking very caref_ully.
    The barge rounds a bend, and Danny sees it first: the shape
    of something in the mist.
    DANNY
    Hey! over there 1
    A BOAT, gray and hea:vy, tilting in the water. OJ:Le by one,
    _the others .see the boat~. It appears to be abandoned as it
    .s.ags .heaviiy, anchored but lurching from the churning .water.
    - Terri - po.ints: a man stands·· on ·the deck of the boat, · his
    loose clothing flapping in the wind. Soaked and desperate,
    he waves his arms frantically at them, sh~uting __words they
    -cannot hear·. .Terri calls to Mateo over the howling winds.
    TERRI
    Get close to. his boat! We' 11 bring him
    aboard!
    MATEO
    Ro. You trust nobody on these waters~

    (CONTINUED)
    shooting script - December 1 19.
    22 CONTINUED: 22

    DENISE
    We can't leave ·him stranded.
    C) Cale squints at the vision of a man waving desperately in the.
    storm, a look of recognition and dread crosses his face. Be
    looks to Mateo, who is simply waiting for instructions.
    CALE
    (subdued).
    · ·Pull over to his boat.
    Mateo·maneuvers toward the crippled boat. Danny has his
    camera on his shoulder. Gary and Denise are taping· the
    vicious sounds of the winds anci rain. Mateo smiles ever so
    slyly •.
    The form becames a man as. th~ two boats get closer. PAUL
    SAR.ONE is tall, strong and handsome with a commanding
    physical presence, obvious even as he stands soaked.
    The two boats came close, Gary grabs a rope and heaves it
    across the gap to Sarone. Gary.wraps it aromd·a cleat as
    Sarone pulls the barge a little closer.
    SARONE .
    Catch!
    Sarc;,ne throws a. duffel bag to Gary, who catches it. Then
    0 another: Gary plops the duffel bags down. Sarone dives in the
    river and Cale, Gary, and Terri haul him aboar:d. Be is both
    hot and cold~ shivering as they lead him beneath same
    tenting. Gary pours brandy into a cup and Denise wraps an arm
    about his shoulders. Sarone drinks down the brandy with one
    fast gulp, barely.taking note of the people around him.
    'l'ERRI
    You'okay?
    SARONE
    I. think so. •Storm surge pushed me into
    ·the shallows, my propeller caught a ·rock.
    God knows how long I'd have been stuc~
    here. ·
    'CALE
    We can't take you back to Manaus. We're
    headed ~p river.
    SARONE
    If you can just get ~ to the next
    village, I know the people: They'll help
    me fix my boat. ·

    I. '\

    (CORTINtJED)
    . .
    Shooting Seript _ Dec:,ember. 1 2.0.
    22 CONTINUED: ( 2) 22

    -Glances all around: no one has any problems with that.


    SAROll1E
    I'd really apprec:,iate it. sorry if I'm
    any trouble.·
    CALE
    Don• t apologize. We• re at the mercy of
    our machines. Yours broke.
    Danny continues filming. Sarene notices the camera· and grins.
    SARONE
    Am I going to be on the news?
    Sarene's good humor disarms the crew. Everyone laughs except
    Mateo. Sarene looks up to Mateo. Mateo regards him with same
    mysterious knowledge: he knows this man, or men like him.
    23 .EXT. BARGE DECK - SUNSET 23
    Later.now, the storm has ended.The water is calm and the sky
    has cleared. The.boat is anchored along the shore. Danny
    stands at the back of the boat filming. Terri, Cale, and
    Westridge watch as:
    ANGLE:

    0 SARONE
    You saved my life! The least I can do is
    cook dinner.
    SARONE. stands . stock still in the river. Be holds a crude··
    spear above his head. Suddenly,· and with tremendous speed,
    $arone strikes. Be pulls a large, violently flapping, fish
    out of the water. Be holds it up.
    SAROll1E .
    Fish river style •
    .Sarene climbs into the boat.
    . ...
    Be whips out a knife and.efficiently guts and cleans the
    fish. Gary and Denise have come out of their cabin. Gary
    watches, mesmerized: by Sarene's skill.
    TERRI
    Ever work in a sushi bar, Mr. Sarene?
    SARONE
    It's safer to eat cooked food.

    (CONTI~D)

    J
    shooting Script - December 1 21.
    CONTINUED:

    CALE
    Bow long.have you been on the river, Mr.
    Sarone?
    SARONE
    seems like forever. I think it's been
    about four years.
    DANNY
    Where're.you fr~?
    SARONE
    St. Louis.
    TERR.I
    What brought you h~e?
    SARONE
    (laughing)
    Fate. Bad karma. I started out studying
    for the Priesthood. After spending so
    much time inside I figured I needed to
    get out. See the real world. Somehow I
    ended up here. Guess I fit in.
    WESTRIDGE
    And what does a failed Priest-do in the
    jungle?
    SARONE
    1·catch reptiles for zoos and collectors.·
    Whatever th~y want.
    TERR.I
    Poaching?
    SARONE
    Poaching is illegal. I hunt and trap.
    The fish filleted, Sarone rin·ses the fish _with bottled wather
    and then moves to the stove. Terri and the others watch,
    intri~ed by this man.
    GARY·
    And now you're hunting?
    SARONE
    snakes. Mostly.
    DANNY
    I hate snakes.

    (CORTil\1UJ:D)
    shooting Script_ December 1 22.
    CONTINUED: ( 2)

    BARONE
    And you all? What are you hunting?
    WESTIUDGE
    We're not hunting anyth.ing. We're making
    t. a film.

    TERRI
    About the· Shirishama.
    BARONE
    The·People of The Mist.
    CALE
    You know of them?
    BARONE
    I've seen them.
    . WES'l'IUDGE
    And so slur$ every other river rat after
    five whiskeys ..in any bar in Man•us·
    BARONE
    (laughing)
    Five whiskeys? That's breakfast on the
    river. (BEAT) How are you going to find
    them?
    CALE
    'l'he Shir ishama foilow the seasons and the ·
    eclipses. As part of their religion.
    We're following the lunar calendar.
    BARONE
    They also must eat. Religion sometimes
    takes back seat to hunger; Could. you
    hand me that skillet? And some oil?
    · · TERRI
    There's some truth to that, Steven.
    Cale shoots her a look.
    DERISE
    .Would a salad go well with 'fish ri"ver
    style'?
    BARONE
    Perfect.
    Denise hands him the skillet. Sarone expertly salts and
    peppers the large fish, . rubs some oil on it, and drops it in
    the skillet. The fish pops and sizzles.

    ( COR'l'Il!TOED) \
    shooting Ser ipt - December 1 . . 23.·
    CONTIRUED: ( 3 )

    Sarone picks up sane small red fruits, .smashes them, popping


    little black seeds into the pan with the fish. Denise washes
    sane vegetables with bottled water. ·
    GARY
    What're those?
    SARONE
    Chicha~ They taste l~e peanuts.
    C-ale and Terri exchange a look. Danny puts his camera down.
    He walks over to the cooking fish and inhales deeply.
    DANNY
    Now that smells good.
    Sarone smiles.
    . TERRI
    When did you see the tribe?
    SAROIE
    Abo.ut a month ago.
    CALE
    Can you lead us. t~ them?
    WESTRJ:DGE
    0 We don't need any help,_thank you very
    · much.
    TERRI
    Don't be so hasty Westridge. We might
    need a little help.
    SARONE
    Look. You've been very kind. I feel I'm
    get1;.ing in the way •••
    -CALE
    Whatever help_you-can give us, whatever
    yo'tl can tell us about the river.: ••
    SAROIE
    I owe you. If there is a spare hananock, a ·
    good night's sleep is all I need, and in
    the morning I can show you where I last
    saw the Shirishama.
    shooting Ser ipt _ December l 24.

    2'3A EXT. BARGE - NIGHT 23A

    The remains of dinner _lay scattered around the table.


    Westridge kills bugs with a spray can. Gary and Denise,
    .loaded down with sound eq11ipnent climb ashore. Danny stubs
    out his cigarillo.
    . DANNY
    Fed the bugs. Time for me to turn in.
    ·Good night. I
    Danny stands and goes into his cabin.
    GARY
    We're going to collect sane wild sound.
    TERRI
    Be careful.

    GARY
    Yeah. It's a :,ungle out there.
    DENISE
    Listen to it. It's beautiful.
    Gary and Denise hold hands like teenage lovers as they. leave
    the boat, stepping onto shore.. Each carries a box as they
    walk into the jungle.
    0 CALE
    There's nothing like falling in love.
    TERRI
    I hear Gary does it at least once on
    every job.
    WESTRIDGE .
    However unsavory, at· least his reputation
    iskn~. It's.the hitch hiker that
    concern~ me.
    Unbeknownst to them, Sarone stands twenty feet b!ck, watching
    them, concerneq..
    Westridge leans close to Terri and Cale.
    WESTRIDGE
    He's a poacher by his own admission.
    CALE
    He;s a resource, Warren.

    (CORTill1UED)
    -------------- ---- -----

    shooting Script - December 1 25.


    -2 3A CON'l'INUED: 23A

    TERRI
    He knows the river.
    WESTRIDGE
    So find out what he knows then ·and
    deposit him at the first opportunity.
    I• m with the capt•a.in-- you can• t trust a
    stran99+, and I do not trust him.
    'l'ERRI
    Who do you trust, Warren?
    WESTRIDGE
    · Nobody. But that• s beside the point.
    Good night.
    West.ridge goes into his cabin, we hear him iock the door.
    24 EXT. AMAZON - NIGH'l' 24
    'l'here is a thic):c mist ill the air as the anchored barge rests
    close to the_ shore, bobbing gently in _the steamy.water. The
    night songs of animals and ill.sects blend as a · single,
    constant sound, which is ·overridden by the cool clatter of
    Miles Davis and Max Roach blasting loudly from a beat box.
    A SUB'l'LE RIPPLE upsets the otherwise- still black river.~.
    0 OMIT 25 ·

    26 EXT. BARGE - NIGHT .. 26

    Terri and Cale stand on the side of the barge and look out
    over the quietly flowing river. Terri holds a map and small
    flashlight. ·only the glow of a cig~ette re:~eals Sarone,
    watching,· deep in ·the shadows.
    'l'ERRI
    Sarene says we've got a better chan~ of
    encountering the Shirishama here. What
    do you think?
    CALE
    He's been there. That's a distinct
    advantage. Although, West.ridge could be
    right ••• Mr. Sarone could be same
    pathological liar who suffers from
    delusions of machismo.

    (COR'l'IRUED)
    shooting Script_ l)ec:,ember_l 26.
    26 COSTINUED: 26

    TERRI
    Hmm. Interesting theory, Dr. Cale.
    CALE
    Don't tell me you like
    that ••• that ••• Adventure-land, Crocodile
    Dundee stuff?
    TERRI ~
    ·I have a history_of falling -for men like
    that.
    Cale looks affectionately at Terri.
    CALE
    I guess I deserve that. But I want you to
    know that my wandering days are behind
    me.
    TERRI
    Said from deep in.the heart of the
    jungle.
    CALE
    Yeah, but, that's because you're here.
    TERRI
    Steven, you'll-always wander. It's your
    job. I don't mind that.
    CALE .
    Well ••• what is it then?·
    TERRI
    ·r just want to know that you'll
    eventually wander back to me. Rot same
    gr~d student.
    CALE
    We weren•.t exactly seeing each other at
    the time.
    TERRI
    (laughing)
    You are immune £ram prosecution.
    CALE
    I.think I'm ready to try some kind of
    · commitment.

    (CORTIRm;D) ~
    shooting Ser ipt - · December 1 27.
    26 COJlTTINUED: ( 2) 26

    TERRI
    But you're not sure?
    CALE
    No. I'm sure. I'm positively sure. I am
    ready to try.
    Terri bats her eyes playfully at Cale.
    TERRI
    Well, you know what they say, you can• t
    stop a guy from trying. Good night,
    Steven. · \..

    Terri stands and goes into her cabin. Cale sits on


    deck ••• staring at the moon. sarone blows a smoke ring from
    the shadows. ·
    f:)MIT 27
    28 Il\TT. WESTRIDGE'S ROOM 28

    Westr idge is trying to sleep. Be twists ana turns, but


    Danny• s music is driving him crazy. Finally, he leaps _from.
    his bunk, spitting quiet curses as he puts on a robe and
    stomps out of his roam.
    29 29·

    u
    INT. HALLWAY

    Westridge storms down the hall. Westridge moves straight for


    the door and begins knocking. • Danny opens the door; and
    Westridge gives him a murderous look.
    WESTRIDGE
    I happen to be a very wealthy man.
    DANNY
    Great • . s~re a .twenty?
    WESTRIDGE ·
    If you-continue to play that mu~ic, I
    will h,ire someone .to kill you •. A
    tribesman with a blow gun and a poison ••.•
    dart and a need and a use for five
    thousand American dollars. Comprende?
    Danny turns the music down, just, enough to he·ar.
    DANNY
    You can get it done cheaper than that.
    But you gotta haggle. ·

    (COJlTTIIIUED)
    Shooting Ser ipt December l 28.
    29 CON'l'INUED: 29

    Westr idge turns curtly and leaves •.


    () OMIT 30.
    31 EX'l'. JUNGLE CLEARING NIGHT 31
    Denise and Gary have found a small clearing in the jungle,
    about a hundred yards £ram shore; they have their equipnent
    out and are listening to the SOUJlds of the jungle: a symphony
    of insect noises, wind, and distant mammal chatters. which is
    peculiarly sensual to the two •. 'l'heir eyes meet. Denise· and
    Gary both_ feel the strange, wild lust of the j~gle •.
    Suddenly, they're in each other's arms with a passionate
    kiss. Gary breaks £ram her and clicks on the Bagra.
    DENISE
    What're you doing?
    GARY
    'l'hey want wild sounds? Let's giv~ them
    some.
    Denis·e laughs as Gary peels ·off her. blouse. 'l'he sounds
    ('onsume them, engulf them, fade off as they become lost in
    each other •••
    Denise freezes as her eyes pop wide open.

    0 What?
    GARY
    What•s wrong?
    DENISE
    The silence ••••
    The night is suddenly, completely silent. POV from a
    distance: they are being watched. Gary turns on his
    flashlight as Denise slips·back into-her clothes. He shines
    the flashlight in one dir_ection, then.quickly .in another •
    .. Whirling. around, he flashes the light at the sound behind
    .him: the breaking of .a twig. Nothing there. Just lush
    jungle. A false alarm. 'l'hey relax •••
    Then another sound. A snap. · He whispers to Denise.
    GARY
    Let's get the hell.out of here.
    But the flashlight has caught something, and Denise is
    staring in shock. 'l'WO GLOWING EYES of a snorting creature.
    Terrified, .Denise takes a step backward, then turns to run,
    and lands SMACK AGAINS'l'.A '1'ALL FIGURE. It's Sarone.

    (CONTINtJED)
    shooting ~cript - December 1 29.
    CONTINUED: 31

    Suddenly, Sarone raises his pistol and points it directly at


    Denise and Gary. Denise screams, and Gary pushes her out of
    the way. Sarone fires two well-aimed shots: BARG! BARG!
    SARONE
    Welcome to the food chain.
    32 INT. CALE'S ROOM NIGHT 32

    Working•at· his. computer, Cale is startled by th•. last shot.


    ·He grabs a nearby rifle and J_ROVes out of-the roam.
    33 DECI< NIGHT 33

    Terri is out of her room, as is Danny. They ~cramble to the


    edge of the boat, ad-libbing "What was that?~ A gun, etc.
    11 11

    34 IN THE JUNGLE-- CLOSE ON SAR.ONE.' S EYES. BE DRAGS SOMETHING 34


    .BEHIND HIM.
    35 DECI< OF THE BOAT, 1!1EAR. SHORE 35·..

    Cale has his gun raised, and sees a figur~ · _emerging from the
    jungle. Makes it out as Sarone. Be keeps his gun aimed
    until he recognizes GARY and DERISE, bringing up the rear •
    .Sarene J?.Otices as Cale lowers the gun.
    sarone reaches the barge, picks up what he's been dragging,
    0 and throws it onto the deck. It lands "ith a heavy splat. A
    HIDEOUS, HAIRY .CREATURE.
    SARONE
    Wild boar. Gores with its tusks. Goes
    for the·eyes. These_ two are lucky to be
    .alive.
    GARY
    (full of adrenaline)
    You should 1 ve seen it, man! What a shot!
    He just blasted it.
    DERISE .
    (still in shock)
    Yeah. Great.
    Sarene looks at Cale, smiles strangely. A pau~e •••
    CALE
    From now on, let's stay on the boat at
    night.

    (COR'l'IROED)
    Shooting script - December 1 - 30.
    ·35 CONT:INOED: 35

    SARONE
    An excellent idea.

    sarone and Cale have a moment. Something has shifted in the


    :dynamic of the crew and they both know it.
    DANNY
    ·oo you mind doing it again? _:I'd like to
    get it OD film.·
    Relieved laughter all around.

    i
    36 EXT. RIVER - DAY 36

    The barge moves slowly down the river, surrounded by the


    vast, hot jungle.
    Danny, Gary, and Denise stand with their equipnent at the
    ready. Cale is excited, ·tense, checking his field notes and
    charts. Terri checks her notebook, scans the riverbank.
    SARONE
    :It's just around this bend.
    The barge drifts-quietly around a bend to where two
    tributaries fork.
    C) DEl!1:ISE
    Wow. Gary! Look at this.
    She points to a large totem carved in the shape of a snake
    planted in a small clearing directly at the fork. The totem,
    and it's relationship to the river, looks almost devotional~
    _Danny gets a sho:t o~ it. Westridge steps out of his cabin •.
    WESTRIDGE
    · Am I on?
    DAl!1NY
    Not unless you'_re a big 'ol creepy
    lookin' · wooden snake.
    Westridge looks towards the totem, even he is impressed.
    Terri's eyes are on Sarone as he surveys the river. Sarene
    points to the right.
    SARONE
    We will find them down this fork.
    Cale pulls out his map.·

    (COl!1TIJlltJED)
    .shooting Ser ipt - December 1 31.
    36 CONTrNtJED: 36

    CALE.
    According to the lUJlar charts they would
    be on that side.
    Cale points to the left.
    SARONE
    This marker would indicate the Shirishama
    are this way.
    Cale looks at the totem.
    CALE
    What makes you sure it's Shirishama?
    SARONE
    The snake. The Shirishama worship giant
    snakes-- anacondas-- as gods, protectors.
    This marker. shows the Queen Anaconda. The
    mother of all snakes. They Ive handed
    down the legend of ~eir ancestors ml(lk~g
    a.trek to a sacred lake, the first part
    of the passage is a. waterfall protected
    by warrior snakes. If you made it past
    the guardians you would travel through
    the land of the anaconda UJltil you came
    upon ·a wall so high it blotted out the
    sun--
    CALE
    --and follow the wall for five days,
    finally reaching the end: the head of a
    giant anaconda. There to guard the lake
    for them, to keep the innocent from its
    poisoned waters.
    SARONE
    You know the ··story--
    CALE
    Yes. But snake myths don• t tell us . where
    the tribe is.
    SARONE
    I know where they are. I trap snakes for
    a living.
    Cale looks at Terri.
    CALE
    And I'm sure you're very good at it. I
    locate Tribes for a living ••• and I'm very
    good at that.

    .(COJl'l'IRUED)
    shooting script - December 1 32.
    36 CONTINUED:. ( 2 ) 36

    Sarone and Cale have reached a standoff. Mateo sticks his


    head out of the pilot house.
    MATEO
    Patron? Which way?
    CALE
    Let's try this side first.
    Cale points to the left and the boat goes his way. Sarone
    glares at Cale.
    SAROE:
    (exploding)
    I know what I.know, and you· can trust it
    or ignore it. It really doesn't matter to
    me. Just let me off at the next village.
    Sarone spits into the.water and stamps off. Terri
    watches ••• completely confused. Danny rolls film of Sarene's
    tantrum.
    ~RR.I
    What the hell was that about?

    u 37 EX'!'. BOA'!' - RIGB'l'


    Terri stands at the corner of the ship. Cale sits near her ·
    37

    studying lunar charts in his notebook. She reaches down and


    runs her hand in the water. ·
    POV-- UNDERWATER: Moving toward the hand ••• coming closer and
    closer ••• colors distorted ••• now ju~t inches away before we
    ·cut to: ·
    TERRI ·s FACE. Startled. A hand on her shoulder.
    I She pulls
    . her. hand out of the water--
    A QUICK CUTBACK 'l'O '!'BE UNDERWATER POV as the the creature
    swerves away from the boat •••
    TERRI turns to see Sarone at her side; beyond her we make out
    ripples in the water, moving away from the boat; neither
    .Terri nor Sarone notice the ripples. Sarone has shaved and
    put on a clean shirt. He leans toward her with a tangible
    physical charge.

    (COl!t'l'I~D)
    Shooting script - December l 33.
    37 . CONTINUED: 37

    ·SAR.Om:
    I startl~ you. sorry.
    TERRI
    No problem.
    SARONE
    I just want to apologize for today. You
    people ·did me a favor and I just wanted
    to help.
    TERRI
    I appreciate it.
    CALE
    Don't take it personally, Sarone. My
    research is fairly extensive and I'd like
    to test it.
    SARONE
    (laughing)
    The jungle isn't a laboratory. ~is isn't
    college. This is a living, breathing
    thing ••• with a personality ... and a voice.
    Pay attention and you'll hear it.
    Cale rolls his eyes.

    0 TERRI
    Same of us appreciate your efforts.
    Sarene stands close to her, his body language suggesting: a
    carnal interest.
    SARONE
    You listen.and the river teaches you
    about.life. About.beauty.
    CALE
    (sarcastic)
    Fascinating, I'm sure. If you'll excuse
    us, Miss Porter and I have some work t;~
    do.
    Sarene gives her a penetrati~g look.
    SARONE
    You have a good night.
    He moves off. And she watches him.

    (CORTIRUED l
    Shootillg Seri.pt - December 1 . 34.·
    37 COl!1Tl'.NUED: ( 2) 37

    TERRl'.
    You didn't have to chase him off.
    CALE
    Yeah. l'. did. I wanted to be alone wi.th
    you.
    .
    TERRl'.
    Well I'm flattered.
    Cale moves close to her and s~aks softly.
    CALE
    .
    Remember the other night? The wreath.
    Remember l'. said it has ·ceremonial
    significance?
    TERRl'.
    . I remember.

    CALE
    It seems that the twigs and flowers are
    collected by the young men ••• they"signify
    growth, the cycle of the forest,
    fertillty ••• the men weave the wreath in a
    special interlocking way. The tww;> strands
    becoming one. Then they add the feathers
    to represent the feeli.Jlg of·thei.r heart
    as it soars.
    Terri smiles.
    CALE
    Alld on certain nights ••• after the rainy
    season ••• when the moon is new ••• the men
    present the wreath to the wam~ they love
    as a kind of, well, marriage proposal.
    Cale looks up at the moon,. Terri follows his look and, sure
    enough, it's a new moon. Terri looks Cale directlyU2. the
    eyes. They kiss. Tenderly at fi;rst ••• then hungry, ·passionate.
    TERRI
    I guess you are ready to try again.

    38 EXT. RIVER - DAY 38

    ·silence on the boat. The heat and boredom have taken over
    again; all are wearing fewer clothes now, and the fabric
    stic)cs to their bodies.

    (CONTill1UED)-
    shooting Sari.pt - December l · 35.·
    3.8 CONTINUED: 38

    Qui.ck shots of people around the boat-~ Cale reacting •••


    Danny, Denise and Gary playing cards on the deck ••• westridge
    r\ hitting golf balls off a tee and into a net with a brightly
    r
    ,/
    \\~, __ ..,...
    , colored Taylor Made Bubble Shaft driver •••
    Terri wiping sweat from her brow ••• Sarene watching Terri •••
    .Mateo at the wheel of the boat.
    Suddenly the boat lurches and groans. Eyes are suddenly
    alert as faces turn quickly toward Mateo, who is. ~truggling
    with the wheel. Terri looks at Damiy. Panicked quilt.
    WESTRJ:DGE
    cap~ain? Do you have control of this
    vessel? Lie if you must •••
    Gary.and Denise have the best view from the top of the
    wheelhouse. Gary points to the back of the boat.
    GARY
    The rope!
    Quickly, Mateo kills the engine and the shaking boat goes
    dead in the water. The crew rushes to the back of the boat
    and looks into the river. One of the mooring ropes has
    1

    fallen off the deck and is snarled beneath the boat. The
    boat has begun to drift backward in the cur.rent.

    a DANNY
    Rope's tangled in the propeller.
    MATEO.
    Can't be. I secured it myself.
    CALE
    I'll go under and cut it loose.
    Mateo ·lowers the anchor to stop the drift. Cale opens his
    trunk to get to· his diving equipment".
    SARONE
    Let me. This river can kill you in a
    thousand•· ways.
    CALE
    You've done more than enough fer us, Mr.
    Sarene, and we thank you. · I ll do this.·
    I

    Denise turns to Gary and Danny.

    (CORTil!IUED)

    I
    shooting Script_ December 1 36.
    38 CONTINUED: ( 2 ) 38

    DENISE
    Drink up, men. A pissing contest will
    follow.
    TERRI
    (to Cale)
    Steven--
    CALE
    -Wha't;? I •m fixing a damn boat. If a wild
    boar is at your throat, promise: I'll let
    him pull it off·.
    39. TIME CUT: 39

    CALE IS IN HIS SCUBA GEAR.. Danny picks up his camera. Mateo


    gives him a sharp knife to cut the rope free, and Cale drops
    over the side of the boat and into the water.
    40 EXT. PNDERWATER 40

    Cale quickly finds the tangle of rope that is snarled around


    the propeller. He takes his knife and beg~s to.cut it away.
    41 EXT. ON DECK 41
    Everything is still as they all watch the water for Cale to
    . reappear.· Mateo. swigs from his flask. Terri, irritated,
    scribbles notes·on a pad. She feels Sarene's eyes on
    her ... looks over ••• he smiles to her strangely. .
    4.2 EXT. UNDERWATER 42

    Cale cuts more rope, but the last strands are tightly·
    snarled. sucking more oxygen, he chops vigorously at the
    rope, ripping pieces of it.free. SUDDENLY his EYES POP OPEN.
    He drops the-knife· and grabs for his throat. Something has
    gone te;-ribly wrong: Calespitsout the regulator and twists
    and squ-irms · in the water. ·
    .
    With all his strength, he fights the current and swims limply
    toward the surface - but he can't get around the bottam of
    the barge. Trapped there, he can't breath~- His .. gloved
    hands claw to find open water.
    43 EXT. ON DECK 43

    For a few seconds nobody senses a problem. Denise screams.


    They look quickly_at the water and see Cale floating
    motionless to the surface. Danny dives framthe top of the
    wheelhouse into the water.· Gary leaps - overboard. Together, .
    they drag the limp body to the boat, and Mateo and Sarone
    pull it aboard while Westridge·wa~hes helplessly.

    (CORTillUED)
    Shooting scr·ipt - December 1 37.
    43 CONT:tNOED: 43

    Mateo.and sarone work desperately, ripping off the oxygen


    mask and cl7aring Cale• s mouth with their_ £ingers. It• s
    (,-,-,-.,) Mateo who finds the dead wasp beneath Cale's tongue.
    "·~--~----
    MATEO
    Wasp! Deadly ·poisonous J
    Cale is -turning b~ue. Gary and Danny climb aboard.
    SARONE
    ( cold and calm) . ·
    Alcohol J Fast!
    Sarone snatches the ballpoint pen from Terri's nwnb hand and
    pulls the knife from his belt.
    Westridge looks to Mateo. Grabs his flask and hands it to
    sarone . . Sarone makes a tube of the ballpoint. Be pours
    whiskey over the plastic tube. Terri watches with breathless
    horro~. Denise clutches the crucifix around her neck and
    mouths a silent ;prayer. ·
    Danny instinctively grabs the.camera and rolls film.
    Quickly and expertly, Sarone makes a small incision in Cale• s ·
    throat. He guides the plastic tube into the incision, ap.d
    there is a long, tense moment before Cale's body suddenly
    lurches as oxyg~ hits his lungs. . Be begins to breathe ·
    through the plastic tube. The others are awestruck by what
    Sarene has done. Slowly, the color is coming back to Cale's
    face, but he remains unconscious.
    44 EXT. AMAZON - NIGHT 44
    In th.e pilot house, Mateo works the radio.
    MATEO
    .Mayday! We have a medical· emergency.
    can anybody hear me? over·.
    (silence; a.beat)
    Mayday! Mayday! Anyone over J
    Still nothing.
    MATEO (CONT'D)
    The radio is out.
    Danny enters the pilot house.
    DANNY
    Let me have a look.

    ( COll1TIRUED )
    Shooting scr.ipt - December 1 38.
    44 CONTINUED: 44

    ..Danny o~s the guts of the radio and finds a maze of old
    tubes and w.ires. Some of the tubes are obviousiy m.iss.ing. Be
    confronts Mateo.
    DARBY
    When was the last time th.is thing worked?
    N.ineteen Fifty seven?
    Mateo shrugs.
    DANBY .(CONT'D)
    h.is breath)
    (llllder
    Creepy guys, po.ison wasps, broken
    radios ••• what k.inda bullsh.it .is th.is?
    44A ANGLE: 44A·

    A s.ingle light sh.ines on the dark water as Sarene surfaces.


    Gary and Terr.i . pull him aboard.
    BARONE
    Done~ The engines should start now.
    WES'l'RIDGE
    Let's go! I demand to go!
    Danny and Mateo climb down from the pilot house

    u TERRI
    (to Mateo)
    Can you make it back?
    MATEO
    I'm blind at night.
    BARONE
    We don't get th.is man to a hosp.ital soon,
    we.might as well drop him .into the river
    right now.
    DANBY
    We can light the r.iver with our strobes.
    · TERRI
    Set 'em up, Danny. !'.ire the engines;
    Mateo. We double back.
    Danny hustles to get same'lights, and Mateo goes back to the
    wheelhouse. Sarene moves to .Terri, he pulls a map from his
    pocket and sh.ines a flashlight on it.

    (COl!1TI~D)
    Shooting Script - 0eeember l 39.
    44A COR'l'INUED: 44A

    SAROl\lE
    Doubling back won't work. 'l'he engi.nes
    will be fighting the current •. ·cutting
    down this tributary will save us a
    hundred mi.les.
    'l'ERRI
    'l'his i.s the route you suggested that we
    take yesterday.
    SAROl\lE·
    To fi.nd the tr.ibe ••• now our.concern is
    getting Professor Cale to a hospital~

    Terri hesitat~s.
    SARORE (COR'l''D)
    Well? Do you want to put it to a vote?
    Professor Cale will have to abstain, of
    course.
    Sarone folds up his map and exits. Terri looks to the
    assembled crew, who have been listening to the discussion.
    Danny grabs Terri by the arm and puils her aside.-
    DANNY
    What the hell are you doing? Ever since
    u this guy came on board ••• bad things have
    happened.
    'l'ERRI
    What choice do we have? Steven's dying.
    45 EXT. JUNGLE - NIGHT 45

    ·wHITE STROBES light the river as the barge plows against the
    curr~nt. · Danny man~ the . lights. 'l'he crew is exhausted.
    Cale lies comatose in a hammock under a mosquito net. His
    ,breathing is shallow and raspy through the plastic tube.
    Terri holds his hand. Every.now and then she moistens Cale's
    lips with a lit.tle water. ·•·
    46 OMIT 46, 47 46 '

    48 INT. WHEELHOUSE NIGHT 48

    Sarone enters the wheelhouse. Be looks out and sees the snake
    totem at the fork in the river. Mateo steers the barge down
    the fork Saronesuggested. 'l'hey grin at each other:
    conspirators. Sarone flips his knife into the air, catches
    'it.
    Sliooti.Jlg script - ~ember 1 40 •.

    49 EXT. AMAZON - DAWN 49

    The barge eases downriver. suddenly, Mateo cuts the barge• s


    diesel engines. Silent drifting. Everyone's attention is
    - drawn to the river. AHEAD is a man-made dam, constructed of
    interlocking logs that are mortared with mud across the.
    narrow,river. No way to move past. The barge bamps gently
    against the dam. Terri comes forward on the deck, alarmed,
    she shoots a glance to Sarone.
    TERRI
    This. is the river you know?
    BARONE
    This .is new. Don It panic.
    TERR.I
    I'm not panicking. I'm looking at a dam
    thatis blocking our way down this river
    you know.
    DANNY
    Maybe we should just back up, getting a
    running start, and smash through it.
    BARONE
    Or.

    C) sarone moves a duffel bag, pulls out four sticks of dynamite.


    GARY
    (impressed)
    · Dynamite? That• s real dynamite?.
    BARONE
    Good to be prepared •.
    DANNY ·
    Yeah. Boy Scout's motto.
    TERRI
    You've got to be kidding. The dam must
    be here for a reason.

    SARONE
    Maybe there are ghostly spirits up ahead.
    ~nsters.
    TERRI
    I'm talking about upsetting the
    . ecological balance of this river.

    ( CORTil!ltJED) ·
    Shooting script - December 1 . 41.
    4.9 CORTIRUED: 49

    'DARNY .
    she• s right. This is nothing to joke
    about, you just can't go around blowing
    things up if they're in your way.
    SARONE
    Beavers did• t build that dam. Men did.
    I can blow it in ten minutes. Or we can
    turn around and lose two days.
    WESTRIDGE
    Blow the blasted thing--
    GARY
    If it's the fastest way.out of here •••
    Terri 1 s eyes burn into Sarone•s. She doesn't like this at
    all. But she seems to have no choice.
    SARONE
    I need some help. Gary?
    Gary shrugs. Sarene points him to a rowboat.. Gary gets in,
    and Sarene tosses him.the dynamite, which he nervously
    fumbles. Sarene looks to Terri.
    BARONE
    You .assist Mateo. I don• t have a remote
    CJ
    "--'
    detonator_; float out fifty feet, be ready
    to move the second we get back.
    Terri f.ollows Sarene• s commands. Sarene gets in the rowboat
    and Terri moves into the pilot house with Mateo. Terri
    cr~nks up the engine as Mateo turns the barge around.
    50 EXT. DAM - DAY 50
    The r~boat gl~des down the dam •
    . GARY
    You• re sure this is safe •.
    BARONE
    It isn•t safe. But that's part of the
    fun. Now take these under and jam them
    five feet apart at the base of the dam.
    connect them with th~s wire. ·
    Gary nods, takes the dynamite, then drops overboard.
    Shootin~ script - December 1

    51 INT.. PILOT HOUSE 51

    () Mateo steers the barge up river.


    TERRI
    Be said fifty feet.
    MATEO
    Gi~e or take. 'l'hey•re strong men.
    52 EXT. UNDERWATER 52 ·
    POV, FROM A DISTANCE: A slightly distorted LONG ·SHO'l' of Gary,
    underwater. now, near the· base of the dam. Still at first, ·
    the POV BEGINS MOVING QUICI(LY 'l'OWARD Gary • ••.
    CLOSE.ON Gary: Be's got the first stick of dynamite in place,
    and is wedging in the second, when he suddenly feels the
    presence behind him ••• he stops, frightened., •• turns •••
    THE MOVING POV suddenly stops,· ~overing.
    GARY'S POV: His vision does not match whatever was moving
    toward him. Be sees is the merest hint of ·something in the
    murky water. Adrenalin pumping, he. sets back to work~
    53 .EXT. THE DAM 53

    Sarene runs along the top of the dam, µ.nking the fuses
    together • GARY . SURFACES.
    GARY
    It's set.
    SARONE
    Good.
    . ( rioting ·Gary• s . fear) .
    Are you okay? .
    GARY
    Something's down th~re.
    SARONE
    You bet. Deadly.
    GARY
    No, really. I felt it ••••
    SARONE.
    No, really~ I •m agreeing. 'l'he timer is
    set. Back to the barge.

    (COR'l'IIIUED)
    Shooti.Dg·Sc:ript - December l 43.
    53 CONTINUED: 53

    . Gary scrambles into the rowboat and they head back •••
    EXT. BARGE 54
    Denise helps Sarone and. ~ary aboard. The engine is chugging;
    ·straining, and then suddenly stalls.
    WESTRI:DGE
    That doesn't sound proper.
    Terri cranks the engine •••.
    SARORE ..
    Mateo, damn it-- you set the boat in the
    current! We'll -dr:i.ft right back.
    Mateo runs to ·the anchor and ~gins to drop it.
    SARORE
    NO 1 We' re too close already-- we• ve got
    to ge"t::- the engine ruunjn9 •.·
    55 EXT. TSE DAM 55

    The fuse sizzles, two or three feet rem.aiujng.


    56 EXT. BARGE 56

    r-,
    "----"
    Sarene opens the hood to the engine compartment, revealing a
    maze of pipes and valves. Be opens a valve and hot steam
    explodes out. Be opens another valve and begins to release
    the pressure. Working frantically, covered with sweat.
    57 EXT. DAM 57
    The fuse burns closer and closer to the explosives.
    58 -EXT. BARGE 58-

    The barge drifts closer to.the dam. Te;rri grinds the


    ignition,. over and. over. All stand breathless .. Danny g;rabs
    the camera and crouches to get a shot ...
    59 EXT. DAM 59

    The fuse is less than an inch £ram hitting the explosives.


    60 EXT. BARGE 60

    Sarene finally finds the valve he is looking for. Be turns


    it: the gauges begin to work again-- there is power.

    (CON~IIIUED)
    shooting Ser ipt - oeoemba..r l 44.
    60 CONTIRUED: 60

    SA.RONE
    Now! Hit it!
    INT. PILOT BOUSE 61

    Tense but under control,.Terri turns-the ignition with


    futility. She turns it off -- pa.uses __;. waits one
    agonizingly long moment -- tries again. The engine catches,
    sputters, catches again. Then it-revs and roars~ Mateo
    opens the .throttle and the _barge chugs.away from th~ dam.
    TERRI
    Go! - Go!
    DAJ1111Y .
    This should be good.
    62 EXT. DAM 62
    We see the fuse burn down the explosive and •••• BOOM! The
    dam blows sky h~gh, the explosion ~ocking the j_~gle.
    63 EXT. RIVER 63

    The barge heaves upward like a bucking horse. Everyone is·


    knocked down. High flying debris suddenly rains down upon the
    barge. The crew ducks away from logs and sticks and rocks.

    0 Terri points with alarm at the spa.re fuel.drums that are


    rolling across the deck and plunging into the river.
    TERRI
    The fuel drums!
    Gary lunges for a d.rlml, but it's too heavy for him to hold.
    Orie drum rolls to the edge, hangs there for a manent, then
    topples into the water. Another falls into.the river, then
    anoth~, their weight too much :to stop, and as each hits the
    surface, it sinks and disappears •.
    Sarone appears £ran below decks, 'tjien rushes to the pilot
    house to take control of the barge as· debris.stiil rains.
    DANNY'S .POV, THROUGH THE CAMERA: Sanething enters frame, dark
    and out of focus, blocking half the shot. Moving. Danny
    pul_ls the camera from his eye and turns it •••
    COILED AROUNtl THE CAMERA IS A SMALL SRAJCE.
    PANIC. Danny freezes in absolute bowel wrenching fear. ~rri
    sees it, grabs a stick and hits the snake until•it lets go of
    the camera and slithers overboard. She then looks .to her feet
    and the deck around her: snakes are ali around, wriggling and

    '(COl!ITIJIUE~) 1
    Shooting Script - December 1 45.
    63 COR'l'IRtJED: 63

    squirming. Danny is unable to move •. Everyone else runs


    around the deok sto:mping at the snakes, µ¢king them
    overboard. One of them has landed on Westridge's hand and he
    looks blankly at it.
    WESTRIDGE
    Danny. Maybe we should get this.
    The idea of hiding.behind the lens is a good one. Danny t ~ s
    the camera, now free of the snake, to film Westr idge, who is
    amazingly calm as the small sn~e coils itself around his
    hand, squeezing tightly. Wes tr idge tries to peel the
    · anaconda away, turning ·to the camera. ·
    WES'l'RIDGE
    (to camera) .
    After the explosion, snakes rained down
    from the sky. I most fervently hope not
    of the venamous sort. Mr. Sarone?
    SAROIO:
    No, these are anaconda constr ~ting·.
    Sarone watches the small snake, fascinated.
    WES'l'RIDGE
    (still struggling)
    I'll say. As you can see; the little
    0 bugger-- hold it, we don't have sound, do
    we?

    'l'he baby,snake twists back and with its body still tight
    around Westridge•s finger,. is now trying to swallow
    West.ridge's fingertip whole. Westridge is suddenly terrified.
    WES.'l'RIDGE
    (in c;,bvious pain)
    OW! YOU LI'l''l'LE -SHI'l'l SOMEBODY HELP ME
    GET THIS THIRG OFF MY FtX:KIRG BARD!
    SAROIO:
    So young and already so fierce. Can~µ
    imagine being born with such perfect,
    let;t:,.al, instincts? In another ten seconds
    that finger will turn blue ••• then it will
    explode. ·
    .
    West.ridge• s index finger is, indeed, turning blue. Danny
    drops his camera and attempts to help, but the snake gives
    him the heebee-geebees and·he's helpless. He won't touch it,
    doesn't know where to begin. sarone moves forward and :rips
    the snake off West.ridge's finger with blinding speed. It
    ·skids across the deck and falls into th~ river. Westridge
    ( shoots Danny a look. Danny shrugs.

    (COR'l'IRUED)
    Shooting script - ~ember 1 46.
    63 63

    DARBY
    I'm a oity boy.
    Meanwhile, Mateo has hooked up a water hose at the back of
    the boat. He rushes forward with the water at full pressure,
    and he blasts the baby snakes off the deck and into the. ·
    water. Danny looks at Mateo with genuine gratitude.
    DANNY
    (re: snakes)
    Mateo! You saved my life!
    Sarone has the engines·roaring as the barge begins to turn
    around and head back toward the broken hole in the dam. It's
    a narrow opening, but Sarone guides the boat expertly. · The
    barge squeezes through the opening in the dam, .bumping twice
    on each side, sliding into calm waters.
    64 .EXT. AMAZON - . DAY 64

    Mid-afternoon and the barge is far down the river from the
    dam. Westridge is in his room. Gary sits against a post.
    Denise casually leans against him. Sarone·is in the pilot
    house, guiding the barge downstream. Mateo takes a catnap in
    his hammock.
    And Terri stands vigil over the unconscious Cale. Danny
    comes up behind Terri and puts a hand on her shoulder.
    DANNY
    Hey. How's he doing?
    TERRI
    I donit know. He's breathing.
    DANNY .
    That• s good. You know that• s good.
    They share a look of compassion and camraderie.
    DANNY (CONT'D)
    Don't sweat it. We' 11 get: h.iln home. An~..
    this is not the last movie you'll ever
    dir~t. We'll work togethex- soon~
    Terri smiles at Danny.
    TERRI
    Thanks. But we wouldn't be in this mess
    if I'd listened to Sarone.

    (COl!ITIRUED)
    Shooting Script - December 1 47.
    64 · CONTINUED: 64

    DANNY
    Oh, ~an, don't do that to yourself.
    (beat)
    And if you haven't noticed, we have been
    listening to him.
    Danny looks up at Sarone. sarone feels h.ilnself being
    scrutinized, and looks down at Danny with a piercing gaze.
    Danny looks away. . Sneaks a glance at Terri, who now simply
    looks at hm o-q.t of the corner of .her eye. Whatever thought
    they're sharing they leave un~poken.
    65 EXT. AMAZON• DAY 65

    The barge motors down the river. Everyone is on deck because


    it's too hot below. Danny plays a little poker with Gary and
    Denise, just losing when we come into the game.
    DANNY
    Oh, damn. · You' re good.
    (to Gary)
    She's good. Make it interesting. This
    time five dollars ante •••
    DENISE ,
    Yeah, this time you don't let me.win.
    DANNY
    No, I ·let you win this time. ~hen I
    raise the stakes. Then you lose. Five
    bucks, c'mon.
    Westridge, in his socks, sprays antifungal medicine into his
    shoes. Barone and Terri stand nearby. Sarone is alert. Be
    scans the banks of the river through a pair of binoculars. He
    listens intently to the jungle, his ears cocked, his nerves
    alive. ·
    ·WESTRIDGE
    .My socks are growing fungi_ that were last
    see by Homo Erectus.
    SARONE
    Shhsssh. Listen to the jungle.
    WESTRIDGE
    I'm far too familiar with the sounds 0£
    the blasted jungle. Chattering simians.
    Reminds me of the Maclaughlin Group.
    suddenly there's a shriek in the far distance, followed by
    silence. Westridge is startled.

    (CONTINUED)
    Shooting Script - ~ember l 48.
    6.5 COR'l'IRUED: 65

    WES'l'RIDGE
    What was that?
    SARONE
    'l'he sound of a ~ill.
    WES'l'RIDGE
    You'll h~ar that sound coming £ram my
    agent when I get off this wretched.barge.
    I .
    'l'erri walks past Sarone .•
    SARORE
    Miss Porter? Where are you going?
    Sarone follows 'l'erri, walking ah~ad of her, standing in front
    of her, stopping her. _
    'l'ERRI
    I Im going to check the map. .
    ,SABQNE
    We're going in the right direction. Don't
    worry.
    'l'ERRI
    Can't help it. I'm a professional
    worri~.
    She walks off below deck. Sarone watches her. A little
    angry. And more than a little aroused.
    MA'l'EO
    (fr.am pilot house)
    Look.there!
    Our.three players turn to look_uprive+, as does Sarone and
    Westridge. Terri comes up £ram below.deck and sees what the
    others are looking at: ·
    A BOAT, .listing to one side, damaged and probably abandoned.
    It hangs in a grove of ,palms on a little spit of !and dead
    center in the river. Gary drops anchor and looks to Barone,
    who scrutinizes.the boat with narrow eyes.
    'l'ERRI
    You know the boat?
    SABORE
    Lots of boats like that on the river.
    Sarone takes a rifle from·one of his bags.

    (COIITIROED)
    Shooting Ser ipt - December 1 49.
    65 CONTINUED: ( 2) 65

    TERRI
    Do you need that?
    SARONE
    Bate to need ~t and not have it.
    The barge has drifted to the end of the anchor line and is
    thirty yards fran _the listing boat. · There is no sign of
    life. Terri calls out.·
    TERRI
    Bello!
    No response. Mateo clangs the barge bell. Still nothing.
    Sarone £·ires a shot in the air, and the startled jungle
    screams back. Then. • • nothing. ·
    .MATEO
    Could be fuel on board. Supplies.
    TERRI
    .Looks
    .
    like it's been
    '
    there a while.
    SARONE
    Could've been there a week or ten years.
    Better board now if we're going to-- it's
    getting dark.
    DENISE
    What if somebody"s just left it for the
    time being?
    ·SARONE
    That'll be apparent soon enough. Mateo,
    cane with me.
    DANNY
    .Wait! I w~nt to get this on film.
    Danny grabs his camera and the three me~ move into action.
    EXT. SAND
    68 PIT - DUSKMateo, Sar 68
    ne and Danny wade through shallows fran the barge to the
    little sandy spit. Sarone has his rifle. Their flash-ligh~
    beams illuminate the houseboat loaning ahead, revealing the
    faq.ed paint of its name, which we have seen before:
    "RAMONA." Sarone and Mateo share a glance •. SARONESpl

    (CONTIRUED)
    Shooting Script - December l 50.•
    68 CONTINUED: 68

    t up a
    d circle the boat. They do so ·
    cmacmaama.K
    69 EXT.· II :RAl«:>RA II 69

    An eerie silence.as the three men climb aboard. Still


    · separated, they search the boat carefully. Mateo tries to
    open the pilot house door, but it's stuck. Be slams his
    weight against -the door, but it won't bu~ge. Stepping back,
    he kicks the door with all his strength. It splinters and
    crashes open. Mateo looks.cautiously inside.
    On the other side of the boat, Danny begins his own search.
    The deck creaks eerily beneath him. An old wooden cabinet
    door opens and shuts ever so slightly with the shifting of
    the boat in the current.
    Danny slowly opens the cabinet, peeking into the darkness
    inside •. ' TWO RED DO'l'S GLOW, about an inch apart ••• Danny,
    spooked, pulls the camera from his face and starts to shut
    the door when TBE DOTS SHOOT _TOWARD SIM. The eyes of sane
    creature, lunging at his face~ Danny SCREAMS, reels away.
    Mateo and Barone cane runnjng. _They all see an iguana,. about
    a foot long, scurrying across the deck and splashing into the
    river. DANNY IS WHITE WITS FEAR, leaning on the railing.
    0 Sarone chuckles.
    BARONE
    Iguana. You must• ve scared the crap out
    · of him.
    .DANNY
    I doubt that •. Any other ~reatures
    hanging around? -
    SAR,ONE
    I •d s_ay with that scream you. sent the
    skittish ones leaping overboard.
    Anything left is probably just pissed.·-··
    DANNY
    Great. Just great.
    BARONE
    Keep looking •••
    DANNY
    Looking? For what?

    (CORTIRUED)
    Shooting Script - Deoember 1 51.
    69 CONTINUED: 69

    SAR0111E
    Treasures, my friend· •••.
    Sarene starts off. Danny, hesitates, then follows.
    DARNY
    . We can look together.
    70 INT. BELOW DECK 70
    Dan:i:,.y follows Sarene below deck. The WALLS AND DOORS are
    damaged, splintered by an attack. D~y can't believe it.
    DARNY
    Jesus Hairy-ass Christ •. • •
    Sarene's flashlight skims the wall, STOPPING ON THE PBO'l'O we
    saw at the beginning of the fi~, the one of THREE MEN
    holding a snake. We now_recc;ignize one of those men as
    Sarene. MAKING SURE THAT DANNY IS NOT'LOOKING, Sarene rips
    the picture from the wall and stuffs it in his pocket.
    71 INT. PILOT HOUSE 71
    MATEO.squeezes through' the splintered door. •Be looks
    puzzled. There are shards of rotted deck planking propped:·
    against .the door. Someone was trying to keep something out.
    72 EXT. BELOW DECK 72
    Sarene finds a metal footlocker and tries to open it.· The
    rusted hinges refuse to give. He· strailis at the ·door with
    all his strength, and it finally opens with a stubborn
    creaking sound. INSIDE THE·. FOOTLOCKER is a hodgepodge of
    survival gear, along with SOPHISTICATED TRAPPING
    PARAPHENALIA. Sarene's eyes light up. He's hit the jackpot •
    . SAR0111E
    This-- this we'll take.with us.
    DANNY
    What•is it? ·
    SAR0111E
    Survival gear. Help me out •.
    DANNY
    So we can go now?
    SARONE
    Yes, we can go.

    (CONTINUED)· ~
    Shooting Script - December l 52 •.
    72 CONTINUED: 72

    SUDDENLY SAR.ONE swings his flashlight to the wall--


    SARONE
    SHIT! WHA,T 1 S THAT?

    Danny ducks, hits the deck, sarone stands dead still, moving
    carefully forward. Pulls something from the far wall. Danny
    flips around, starts scurrying back, but stops when he sees
    that all Barone has is WEATHERED CENTERFOLD.
    SARORE
    . wouldn't mind being eaten .DY this, eh?
    DARBY
    Yeah, very funny, ha h.a. Let's go.
    Danny puts his camera into the locker. Sarone picks up one
    end of the footlocker and D~y lifts the other •
    .7 2A EXT. RAMONA DECK - CORTI1!1UOUS 72A

    · They carry it ·to the railing of the boat.


    BARONE
    (calling)
    MATEO 1 Back to the boat.
    Danny and Sarone lift the footlocker over the side of the
    boat and lower it to the sand spit below.
    72B ANGLE: 72B
    Mateo comes out of the pilot house and slips on the scummy
    deck. He slides like a puck on ice o~f the blind side of
    the boat and into the mucky water.
    72C ANGLE:. 72C
    Rising in the.shallow water, ~e wipes the muck off his hands.
    MATEO
    Shit ....
    DANNY'S VOICE
    (£ram a distance)
    Mateo 1 ·Came on 1
    MATEO
    (calling out)
    Yeah, yeah, I'm coming.
    Mateo pulls one foot out of the muck, then another. Be grabs·
    hold of a floating tree trunk and .tries to pull himself up.

    (CO111Til1UED)
    shooting Seri.pt - December 1
    72C CON'l'IBUED: 72C

    'l'he "tree trunk" flinches and flicks --·a large muscle that
    ripples in Mareo•s grasp.
    Startled, Mateo takes a step back and looks around: there's
    a "tree trunk" there too. · Be is in the middle of a loop and
    suddenly terror stricken •••.protests weakly ("What the--?") •.
    'l'he loop snaps tight like a slip knot around him,
    constricting his abdomen from movement or breathing. His
    mouth is open in a silent scream ••••
    72D ANGLE·: . 72D
    Across the water, Mateo can see the lights of the barge and
    the.silhouettes of Danny and Sarone as they carry the
    .footlocker, but has not breath to call out to -them.
    72E ANGLE: 72E
    A second loop of the "tree trunk" snaps.around Mateo. His
    face is beet red and his bulging eyes are locked on the
    distant lights of the barge.
    His jaws work furiously and silently, his tongue balloc;,ning
    and nose bleeding.
    DANNY s VO.ICE
    I

    Mateo 1 What• re you doing back there?


    · What Mateo is doing is dying. A large, dark oval shape moves
    in front .of the camera and engulfs Mateo's limp body.
    _72F EXT. BARGE - DUSK 72F
    DANNY AND SAR.ONE approach the barge. Danny looks concerned.
    DANNY
    MA'l'EQ!
    ... ( to Sarene)
    We should , go back for him •.
    SAR.ONE ..
    He's fine. Let's get this on the boat.
    (call up··to the deck)
    Give us a hand here·. ·
    Gary, Denise and Terri wait at the railing. '!'hey help hoist
    the FOOTLOCKER onto the deck. Sarene climbs up after _it!
    'l'ERRI
    Where's Mateo?

    · ( CON'l'IRUED)
    Shooting_Script - December 1
    72F CONTINUED: 72F

    DANNY
    Be was right behind us. Now he• s not
    answering. Maybe he slipped, hit his
    head. You should go back for him,
    Sarene.
    SA.RONE
    First it.was we, now it's me? He's
    poking around for booze. Don't sweat it.
    There is a sudden splashing of water in .the blackn~s :beyond .
    the stranded boat. All heads turn, but there is no .further·
    sound. Sarene looks down S-shaped waves that roll across the
    black water against the hull of the barge.
    DANNY
    ·MATEO!
    (to the others)
    I'm going back.
    Gary grabs his headphones and a p.igh powered shotgun
    microphone.
    GARY
    Bang on. If he's on the boat I'll hear
    him. Shhh.

    u Everyone is silent as Gary aims the mike at the boat. We hear


    the highly amplified sound of lapping water, mosquitos, air
    moving through the foliage. Nothing hmnan.
    GARY
    Weird. If he was out there I'd hear him
    breathing ..
    Danny j mnps over tjle side.
    DANNY.
    I" l-l find h.im.
    SA.RONE
    You be care£ ul. ·
    Sarene drags the .footlocker away.
    TERRI
    Danny--
    DANNY
    (not sure)
    I'll be okay.

    (CONTINUED)
    Shooting script - December l 55.
    72F. CONTINUED: (2) 72F

    • Danny.wades back toward the vague shape of the Ramona, and


    Terri watches him, worried. she turns to sarone •
    .TERRI
    Sarone, go witjl him--
    SARONE
    He's the one who's worried.

    73 EXT. RIVER SHALLOWS NIGHT 73

    CLOSE ON DANNY'S FACE, backlit by Mateo•s boat, as he moves


    into the darkness. We stay with him, just· inches in front of
    him ••• the CAMERA M:>VES IR A TJ;:GBT CIRCLE around him, so we
    are now following him, toward the boat •••
    74 EXT. BARGE 74

    Back on the barge, Terri approaches Sarone, who is opening


    .the footlock~ and taking inventory of its contents.
    TERRI
    Can't that wait? The captain of our boat
    is missing •
    .DERISE
    You don't even- care, do you?
    SARONE
    I care.
    TERRI
    Then go look for him. Don't send Danny.
    SARONE
    I didn't send,him~ -He went.
    sarone keeps pulling things from the loqker ••• a military
    vest, mirrors, a cigarette lighter, flares, a poeket knife.
    TERRI
    Fuck·you, Sarone. You're scared.
    SARONE
    Not scared. Just not ,stupid.
    DERISE
    Wha:t is that supposed to mean?

    (CORTil!IUED)
    Shooting Script - oecembeT l
    74 CONTINUED: 74

    SARONE
    This is the jungle. The fastest, the
    strongest, the most ci:uming and vicious
    survive.
    TERRI
    You fit right in, don't you?
    SARONE
    (shrugging)
    There are worse ways to go.

    75 EXT. RAMJNA NIGHT 75


    Danny moves around the boat, calling Mateo's name. Be is
    answered by the wind in the trees and the lap of .the water.
    FROM THE BARI< samething tucked in the foliage watches, not.
    moving. ·
    Danny waves his flashlight across the river bank, sees
    nothing but foliage and shadows. He now sp:>ts a thin shaft
    of light beaming up between clumps of water-hyacinth. Be

    .6
    \,c..,_}
    moves to it and picks it up. MATEO' s FLASHLIGHT, still. on •.
    BACK ON THE .BOAT

    TERRI
    What do you mean?
    76

    Sarone, out of patience, pulls a LARGE, ROLLED-UP BUNDLE from


    the locker. It looks like a·moth eaten cloth. Be stands
    tall, looking at Terri with a penetrating glare.
    SARONE
    Mateo is dead~ I was_ gonna wait a couple
    hours-so you guys co:!,J.ld be as sure as I
    am ••• but he'll find out.
    DENISE
    You let him go?
    Terri runs to the edge of the boat and calls for Danny. She
    sees nothing but darkness.
    .
    sarone sets the bundle aside and pulls fram the locker a
    CROSSBOW-TRANQUILIZER GUN and a half a dozen cylinders marked
    "MOR0-809." His eyes light up as he checks the gun.

    (COR'l'IRUED) i
    Shooting-script - Deaember 1 57.
    76 CORTIRUED: 76

    SA.RoNE
    Here's.the prize •••
    WESTRIDGE
    You are a remarkable man, Mr. Sarone.
    This. is not intended as a compliment. Gary and Denise have
    joined Terri at the edge of the .boat. All eyes wide as they
    call Danny's name.· Row they see a light coming toward them •.
    And hear Danny's voice, calling out-•I•m here.•
    Sarone, how kneeling, cuts the rope wrapping on_the rolled-up
    · bundle, as Terri and Gary help Danny on board.
    TERRI
    You okay?
    DARRY
    Yeah. Ro sign of° him. Just his
    flashlight. I don't know •••.
    Danny, cl..ilnbing on board, looks over to Sarone, who kicks the
    bundle. It rolls all the way across the deck, stopping at
    Danny's feet. All eyes are on Sarone now •••
    SARONE
    Anaconda skin.
    c::::J It must stretch thirty-five feet. Danny is dumbfounded.
    DARRY
    There are snakes out there like this?
    SARONE
    And bigger. This skin is two, three
    years old. Whatever ~hed- it has grown
    since then. And it, or one of its kin, I
    suspect, h_as made a meal of our dear
    captain. ·
    Terri•looks faint ••.
    ·TERRI
    Snakes don't eat people.
    SARONE
    Why wouldn't they?
    TERRI
    I don't believe you.

    (CORTil!IUED)
    shooting Script_ December 1 58 •.
    76 COl\TTil\TtJED: ( 2) 76

    BARONE
    I wouldn't of believed it :myself if I
    hadn't seen a village woman cut out of
    the belly of a thirty footer with my own
    eyes.
    DANl\TY
    You're creeping me out.
    SARONE
    She had gone to the riverbank to do her
    laundry. lllext thing anyone sees ••• bubl::>les
    · in .the water. It took fifteen men an hour
    to wrestle that beast. But it was too
    late for her.
    Denise puts her arms around Gary.
    SARONE
    Anaconda's are the perfect killing
    machine. They can sense heat. Like to
    hunt at night when the forest cools down·
    and warm blooded creatures are easier to
    detect. Even in th~ pitch black they can
    hit their prey within five degrees of .
    dead center. A warm body like Mat!!!O'S in
    the water ••• I'm sure it only took a few
    seconds. (BEAT) When they strike ••• wrap.
    0 around you in a second and hold you
    tighter then your true love. You get the
    privelidge of hearing your bones break
    before the power of the embrace causes
    your veins to ~lode.
    Everyone stands there, spooked.
    DENISE·
    He's pr~ba,bly just lost.
    GARY
    It doesn't seem rigllt. We would've heard
    something.
    SARONE ·
    The jungle doesn't care about right or
    wrong. It only cares about survival. · The
    nat.1ves call them the, 'hungry muscle' • ·
    /

    Sarone shakes the snake skin.

    ( COl\TTil\TPED)
    Shooting Seri.pt - December 1 59.
    76 CONTINUED: ( 3) 76

    SARONE
    Creature thi.s big, captured alive, worth
    a pretty penny.
    Danny i.s leaning on Terri, barely able to stand. They all
    just stare at Sarene, horri.fi.ed, di.sgusted, speechless at the
    man's i.nsensitivity. ·
    . SARONE
    Please, people, don't make me out a
    monster. I 'didn • t .e~t the captain.
    Terri won• t look at Sarene now~ ·- She turns to the others.
    TERRI
    We• re not sure he• s dead. We• 11 wait
    here till the morning~
    Westridge runs up and grabs Terri. Be's shaki.ng wi.th fear.
    WESTRIDGE
    (screaming)
    Are you insane?!? You heard what he said.
    We've got to get the hell out of here!
    we can't sit around and wait for the
    -monster to cane back!

    u TERRI
    Get a· grip, Westridge. we• re not leavi.ng .•
    If that was you out there you'd want us
    .to stay. ·
    WESTRIDGE
    But ••• but ••. the snak~ •••
    TERRI
    Go·into your cabi.n and .lock the door.
    Danny, Gary, let's aim sane lights· at the
    boat.
    They do as she says.
    TIME JUMP:
    77 EXT. NIGHT - AN BOUR OR SO LATER: 77

    A steady rain falls. Strong lights illuminate the.Ramona•and


    the area surrounding it. Terri and Danny stand at the edge
    of the deck, watching the shadows sway near the boat. ·
    Nearby Denise stands with Gary, looking up to Sarene, who
    sits in the pil<:>t house, smoking a cigar·.

    (CORTIRDED)
    shooting Script _ December l 60.
    7.7 CONTINUED: 77

    DERISE
    I'm not so sure he didn•t eat the
    captain. He cert:a.inly looks satiated.
    GARY
    ( distr·acted)
    Yeah ••• ·

    DANNY
    -Be was right there. ·I can• t believe. a
    snake ••• I mean, I would have heard it.·
    TERRI
    Get same.sleep.
    (raising her voice) I
    Everybody. Let• s turn in.
    Denise squeezes Gary• s hand.·
    I
    DERISE
    (whispering)
    I'm scared.
    GARY
    Let·• s go to bed •.
    They turn and start to leave.

    0 SARORE
    Exciting. Isn't it?
    Gary turns and looks at Sarene. Their eyes meet.
    GARY
    (soothingly to Denise)
    I'll be there in a few minutes.
    She looks at him strangely, then moves to her cabin. The
    others.also move off the 'deck, to their roams. Gary stays on
    deck. Looks up to Sarone. He hesitates, then moves up to
    the pilot.~ouse.
    77A ANGLE: 77A

    Sarone turns. As if expect'ing him.

    GARY
    So .•• Sarone. It's out there, isn't it?

    (CONTIRUED)
    Shooting Script_ DeOember l 61.
    77A CONTIRUED: 77A

    SARONE
    As captain Mateo proved •.
    GARY
    And you know hc;>w to catch these things?
    SARONE nods.
    . SARONE
    Be great to capture something like that
    -on film, wouldn't it?·
    GARY
    (nodding)·
    There might be a buyer for that kind. of
    footage. Bow much is the snake worth?
    SA.RONE
    Maybe a hundred grand.
    GARY
    Th~t•s·quite a payday'for you.
    SARONE
    It ain't bad.
    Sarone gestures to the weapons laid out on the deck.
    SARONE
    But a man can't catch an anaconda by
    himself. I need a partner. I think I• m a
    good judge of character. You seem the
    right man for the job.
    GARY
    What about Cale?
    · BARONE
    A day. Maybe two. Do yo~ think it matters
    to Professor Cale?
    Sarone turns and looks straight into Gary• s eyes ..._Gary is
    silent, though ~s eyes speak volumes.
    OMIT 78
    79 EXT. AMAZON - DAWN 79

    The boat sits, anchored, as the sun rises on the river.


    Shooting Script - oecember l ' 62.

    80 VARIOUS SHO'l'S ABOUND THE BOAT 80

    People stirring, unable to sleep: Westridge, wearing his


    nightshades;
    80A INT.· DANNY'S CABIN . BOA

    Danny, curled up with his pillow.


    SOB INT. CALE .s CABIN
    I SOB

    Cale, still comatose, his breathing labored.


    SOC .INT. GARY ARD·DENISE soc
    Gary is wide awake. Denise stirs next to him, groggily
    opening her eyes, making part of her dream the image. of Gary
    with his eyes open, moving closer to him, holding him tight.
    SOD IN'l'. TERRI'S ROOM 800

    And Terri, in her own dream world: KA-CLICX 1 A. sound that


    might be in her dream or nightmare ••• she stirs, fighting to
    wake from her slumber ••• KA-CLICK! suddenly, her eyes open.,..
    - just a flutter at first, then popping wide open.
    KA-CLICK!

    0 SOE EX'l'. DECK - CONTINUOUS SOE

    Terri's door is ajar, and she sees Sarone, on deck. He works


    on the BREACH OF HIS RIFLE, oiling-it, working it, fitting it
    together. He glances toward her· roam, sees her awake. She
    feels violated. How long has he been there? Looking at her?
    He smiles. She gets up and kicks her door closed. Sits for
    a moment. She has fallen asleep in_her clothes. ·she stands
    ON DECK, IN THE BRIGHT $URLIGHT_ 81

    Terri appr;oaches Sarone. stops before him.


    'l'ERRI
    Don't you sleep?
    SARORE
    When necessary.
    'l'ERRI
    Mateo ••• ?

    (COR'l'IIIUE~)
    Shooting Ser ipt _ December 1 63.
    81 CONTINUED: 81

    SARONE
    No sign. . Look, I I m sorry about. last
    night. I liked Mateo. .
    (beat)
    I checked on the professor- an hour ago.
    No better, no worse.
    TERRI
    so we turn back the way we came, and we
    get him to a hospital in·Manaus.
    Meanwhile we work on the radio •••
    Gary is now on the deck. His voice startles Terri--
    GARY I
    No use, Terri. The tubes are missing •.
    t
    Terri looks at Gary, confused.
    TERRI
    Whatever. We turn back. I won• t take us
    any further into this jungle.
    'Westridge has appeared.
    WESTlUDGE
    She's ·right. We get· out of this blasted

    u place before it eats us alive.


    SAR.ONE
    You •.re up early, warren.
    WESTRIDGE
    Who could sleep? And what is that thing
    st~ll doing out here? Must we be
    reminded ... ?
    He's referring ~-the ANACONDA SKIN, still unfurled.
    SAR.ONE
    Relax. Have a cup of coffee. I. know how
    irritable you get before your morning ....
    fix. I ' 11 get this out of your way . ..
    (rolling up the skin)
    As for turning back~ Can't do it.
    TERRI
    Yes we can, and we will. We go back to
    the main river and follow the lllllps.
    \

    (CONTIRUED)
    .shooting script - December 1
    81 CORTINOEO: ( 2) 81

    SARONE
    Run out of fuel a hundred miles from
    Manaus.
    GARY
    Be's right, Terri.
    Terri looks at Gary with a gnawing suspicion •••
    'l'ERRI
    Since when have you became a·master
    navi,gator, Gary?
    GARY
    I looked at the fuel gauge. It doesn't
    take a rocket scientist.
    'l'ERRI
    so we.go his way.
    This is a question, a statement, an expression of defeat.
    All recognize it as such; all silently ac~e~··· -
    SARONE..
    My way once, maybe. Row it's the only
    way. Now it's our way. Trust me_. We• ve
    lost one man. We don't want to lose
    another. We have no choice.
    Sarone is finished rollin_g. up the snakeskin, and he picks up
    the rifle again, and looks off to where Mateo was killed.
    SARONE
    (making the sign of the cross)
    Ashes to ashes, dust to dust. If' I die,
    don't mourn me.
    'l'ERRI·
    No probiem.
    DANNY watches from his cabin. Sees only the current
    tableaux: Sarone standing with his rifle, facing Terri and
    Wes tr idge .• ~ and Gary somewhere in the middle. ·'
    82 EXT. DOWNRIVER LA'l'ER s2: ·
    The barge has steamed-farther downriver, away £ram the scene
    of Mateo's disappearance. Sarone, a bundle of energy, ties
    ropes, prepares nets, and checks tranquilizer darts. - DERISE
    stands with GARY.

    (CORTI&UED )·
    Shooting Seri.pt - Dece.mber l
    82 CONTINUED: 82

    DENISE
    What the heck i.s he up to?
    Sarone throws a glance to Gary, then goes about hi.s business.
    DANNY
    Busy little beaver, Sarone.
    SARONE
    Idle. hands. You know what they say.
    Sarone grabs hi.s ri.fle now, snii.li.ng •••
    SARONE
    Keep.i.t steady up there, Warren.
    Westri.dge i.s at the wheel, steering the barge uneasily into
    uncharted waters. He opens a bottle of wine from the galley.
    Worn and torn by the jungle, he still insists on elegance as
    he pours the wine into a goblet.

    83 INT. CALE'S CABIN 83

    Terri sits near Cale's si.ckbed holding his.hand. He takes


    shallow, though consistent, breaths. Terri puts the back of
    her hand to his for.ehead, like a mother. Cale stirs. His eyes
    flutter.
    TERRI
    ·Steven?
    . CALE
    (weakly)
    Terri. Hi.
    TERRI
    Feeling·better?
    CALE
    No idea.
    TERRI
    Don't worry, we.• re .getting you to the
    hospital as soon as we c~.
    Terri kisses his forehead. Tears well in her.eyes.
    ~RRI
    You just hang on.

    ·( COR'rIRUED)
    shooting_S~.ipt _ DeQeml:,er 1 66.
    83 CONTINUED: 83

    CALE
    (smiling)
    () I'm not going anywhere.
    TERR;I
    You better not. I just got you back, I'm
    not losing you again.
    suddenly gunshots spl.it the s.ilence.
    TERRI (CONT'D)
    (concerned)
    I• ll be right back.
    84 INT. PILOT HOUSE 84
    Westridge lurches at the wheel, spilling h.is wine.
    84A EXT. BARGE 84A

    A large limb of a tree breaks and falls, crashing into the .


    water and drifting downstream. ·sarone has split the limb
    with a powerful· gun.
    Terri comes forward to check the source·of the shots.·
    · Sarone continues to shoot the.powerful gun, and a dead monkey

    u drops .into the water. Danny, shocked, moves over to confront


    Sarone. ··Terri ·is close behind.
    DANNY
    What the hell are you doing?
    SARONE
    Shooting monkeys. Can't bag game without
    bait., . .

    TERRI
    Bait?
    DANNY
    Game? lfhat game?
    SARONE
    Anaconda.
    Sarone takes another shot, missE'.s.
    SARONE
    See. You made me lose my concentration.

    (COIIITINUED)
    Shooting script - December 1 67.
    84A CORTJ:RUED: 84A

    TERRJ:
    Are you crazy? ·we'V'.e got a sick man on
    boardJ We're not here to catch snakes.
    SMOB
    I am.

    DANNY
    What about Cale?
    SMOD.
    It shouldn't take long. Anaconda are very
    hungry.
    TERR.I
    Forget it! Rot on my boat.
    ·SMOm:
    It's your boat now, is it.
    (to Westridge)
    Bear t~ your right, Warren.
    TERR.I
    Don• t J Keep to the ·center of the river.
    SMORE
    Do what ~ say, Westridge.

    u · Westridge looks down at Sarene.


    round into the gun.
    Sarene chambers another

    TERR.I
    You can't do this. We won't allow it.
    'SMORE
    We? You think you speak for everybody?
    · · (to Gary)
    .Does she spe~ for everybody, Gary?
    All eyes turn to Gary. He looks like a_kid caught stealing.
    DERISE
    Gary~
    GARY
    Look. The way I figure it, witjl Cale
    messed up, the movie•~ off. Why not
    salvage something? Why not film Sarone
    capturing a big snake?

    (COSTIIIUED)
    Shooting Script - December 1 6S.
    84A CON'l'INOED: (2) 84A

    TERRI
    Bave you lost yc,ur mind?
    GARY
    Ro. If anything I'm completely lucid.
    I-t • s you guys who aren • t seeing the
    situation clearly.
    DADY
    .Belp me out then. I'm having a little
    trouble making the leap fram ••• get a man
    to the hospital to ••• hunt for snakes.
    GARY
    We're in the middle of the jungle! All
    you guys do is question and er iticize.•
    You don't Jcnow anything about the shit
    we're in. (pointing to Sarone) Bu~ he
    does. Be's been here and·if we help him
    catch the snake, he'll help us get out of
    here alive. And that, amigos, is not
    insanity. 'l'hat is conanon-fucking-sense ~ ·
    DENISE
    _ ( taking a step towards Gary)·
    You bastard!

    u Terri pulls her back.


    TERRI
    Better you find out now.
    The barge has caught up with the.dead monkeyi and Sarene nets
    it out of the water.
    GARY
    What·else can we do?
    Gary stands there a determined look on his face. Danny moves
    towards Sarene, unint.imidatec:,i.
    DANNY
    I know what I'm gonna do. I'm gonna throw
    both your .asses in the river.
    Sarone levels the gun at Danny •. Be slams another round in,
    clicks off the safety, and pulls the trigger.· BOOM! 'l'he
    bullet rips a_hunk of wood off the side of the boat a few
    inches from Danny's head. Danny -ducks as wood splinters
    shower his head. Sarone pumps another .round in the chamber.

    (COl!l'l'J:BUED.)
    Shooting Script - December l 69.
    · 84A CORTl:lftJED: ( 3) 84A

    BARONE
    Not today.
    Danny slowly backs up to where Terri and Denise stand.
    'l'ERRI
    You're not going to get away with this.
    SARONE
    (ignoring her)
    .
    Gary,
    .
    gimme a hand •
    . Gary moves to help. sarone impales one of the monkeys on a
    grappling hook attached to a long line wound on the crane.

    85 EXT. AMA.ZOii - DAY 85

    Farther downriver. ·Sarone stands testing the hooding device,


    his eyes watch the distant line in the water that drags the
    monkey a hundred yards behind the barge. Gary stands
    awkwardly near him, holding a TRANQUILIZER 'CROSSBOW.
    'Danny stands with his camera at the ready. Terri at his side.
    Denise sits, a sick look on her·face.
    DERISE
    (to Terri)
    0 I am so sorry I brought him along. I
    really messed up.
    'l'ERRI
    Never say yes when your legs are in·the
    air.
    DENISE
    This i~•a+l my fault.
    'l'ERRI
    Forget it. We' 11 get through this.
    Sudde_nly, everyone turns as the crane _winch squeaks and ·
    slowly makes a·half rotation. Sarone is right on it. Be's
    -got a nibble on the monkey. The crane winch squeaks again
    and turns a full rotation. Sarone jumps down fran .the crane
    seat and quickly ties·ropes to ~e large iron cleats on the
    side of the barge. He gets out his spear gun and starts to·
    attach a rope with a large lasso around it.

    (COIITIIIOED) l
    Shooting script - December 1 10.
    .. 7
    85 CON'l'IROED: 85

    SARONE.
    (to Gary)
    Lemme get it with.in ten feet, then hand
    me the bow.
    S,arone returns ·to the crane seat just as the crane winch
    squeaks again and turns another full rotation. Sarone leans
    forward, ready to strike. Be reels the line in slowly.
    Terri sees a little swirl of water seventy yards behind the
    boat. The.monkey has been swallowed and something is moving
    in. The .crane. boam groans and ·swings a. yard t~ the right. ·
    ·sarone cranks .the winch slowly, careful not to lose the prey.
    The line is stretched tight, weaving back and forth.
    All eyes are on the line. Hearts· are in throats. The crane
    boom suddenly jerks to the opposite side •
    .sarone braces his legs and craJ1ks the winch with more power,
    slowly reeling in his catch.· Whatever· is ~ the water starts
    to thrash like crazy. It's still thirty yards from the
    barge.
    85A ANGLE: 85A

    Everyone on deck gasps as they see a portion of the prey


    break the surface: three feet of olive black snake trunk
    writhing, churning the water.
    0 Sarone strains with all his strength, drawing the coiling
    snake a few yards closer to the barge. Be yells at Gary to
    get ready. Be reels in with all his strength, possessed.
    Suddenly, the grappling hook dislodges from the snake. The
    reel spins and. sa.rone topples backward off the crane seat and .
    onto the deck. Slamming in to.Westridge and knocking him
    down.· _The snake disappears· back into ·the wat~ •
    .They• re all stunned. Profound silence. Sarone picks himself
    up painfullyfram the-deck. Westridge stands, looking for his
    glasses. They all just s't:,and· there, watching, waiting, .
    listening to the silence ••••
    Westridge kneels to pick up his glasses that fell onto the
    deck.
    . \

    85B ANGLE: 85B

    Suddenly a tremendous wash floods over the deck as the snake


    shoots out of the river in a wild, shocking moment.
    The snake spits the dead monkey out of his mouth and onto the
    · deck. Mateo• s earring lands on the deck next to the dead

    (CONTIRUED) ·
    shooting script - December 1 71. ·
    85B CORTIRUED: 85B

    monkey. The snake leaps onto the deck, -half its body still
    in the water. Its mouth is agape as its foot-long tongue
    .lashes out at them. Gary scurries back, tripping over a
    chair, accidentally discharging the crossbow. The dart flies
    out, sailing past sarone and lodging into the railing.
    SARONE
    Dammit! Reload!
    The snake• S· · 1o~g, · tubular body quickly flies out ·9f the dark
    water and entirely onto the deck. Twenty-five tubular feet
    of pure,. slithering niuscle. G'ary, panicked, drops the
    reloads, and.they roll out of reach.
    Danny too terrified to run, continues to film. The snake
    slithers towards him. Terri grabs. Danny• s belt, pulling him
    out of •the way. ·
    Denise and Gary scatter with blind adrenaline, desperately
    looking for safety. The snake·slithers.~ flops_ all over
    every corner of the deck, and he .is angry. Around the crane~
    past the bow, to the wheelhouse. It smashes through the
    window of the wheelhouse and crashes out again through the
    other side. ·· ·
    Sarone moves efficiently and calmly in the _eye of the storm.
    He is the consummate professional hunter as he ties off more
    rope and tries to lasso the snake in a net.
    A long snake tongue lashes past Terri's face. She turns --
    face to face with the drooling, spitting anaconda -- its head
    is bigger than her own, its fangs glistening and dripping.
    It turns away from her, toward Denise.
    Denise is cornered. She backs up, clutching her crucifix and
    mumbling a prayer, as the snake moves in on her and coils to
    attack. suddenly, Denise falls.overboard in a backward flip
    and· lan~ in the water.
    Gary leaps overboard.to get to Denise. Attracted to the
    . movement, the anaconda heads .overboard, slithers straight
    down and disappears into the depths of the dark r~ver.
    85C UNDERWATER: SSC

    We see the snake. starting to wrap around Denise ~eath the


    surface of the river. But in the proc;:ess, the anaconda is
    also wrapping around a submerged tree trunk. The tree trunk
    interferes, and Gary is able to pull Denise out of the loop
    at the last possible moment.·
    Shooting script - December l 72.

    85D · ANGLE ABOVE WATER:. 85D


    Denise splashes desperately to the surface with Gary. Be
    boosts her up onto the deck where she is grabbed by Danny and
    .Terri.· They reach down f9r Gary and pull him- aboard.
    85E EXT. BARGE - CONTIRUOUS 85E
    suddenly, the anaconda flies up through the surface again and
    lands on the d~ck of the boat. The snake grabs. <;ary in the
    '
    I
    blink of an eye and tightens the loop on him. Gary gasps
    unable to breath and Denise screams as she tries to pull him.·
    free seeing the life being squeezed out of him.
    85F ANGLE: 85F
    Sarone is preparing a spear gun with a large lasso around the
    tip of the spear.
    TERR.I
    The rifle, _sarone1 Shoot it! Rill the
    goddamned thing!
    Ignoring her, Sarene fires the spear at the.snake to ·get the
    lasso around it and succeeds, looping the anaconda near the
    head. He quickly loads a second spear and fires again, but
    this time he misses, almost hitt.ing Danny. The powerful
    snake. r.ears bac.k ~d s;uaps the hemp in half. ·
    0 Danny instictively grabs an axe and attacks the snake. Be
    swings wildly, screaming as he rips a gash in the snake's
    hide. Blood gushes from the snake. Danny drops the axe and
    stumbles back, his terror and revulsion returned.
    The flailing tail'knocks Sarone down, and the rifle slung
    over his shoulder slides away fram him and clatters across
    the deck. Terri scrambles after the rifle· and grabs it. She
    tries tq ailli for the snake's undulating head, ·and we hear
    Gary's bones begin to br~ak.
    The snakeopens its mouth and hisses. Terri fires but
    misses, ripping a chunk out of. the rail. The snake lurches
    wildly, vaulting the rail with Gary still in its.grasp. It
    h~ts the water and drags Gary under, disappearing into the
    deep river. Denise moves to dive after him but Danny grabs
    her and she is wailing now and the sound of her grief echoes
    through the jungle as Danny tries to comfort her.
    Sarone moves over to Terri and snatches the rifle fram her.

    (CONTilltJED)
    shooting Script_ December 1 73.
    85F COl\l'l'Il\lUED: 85F

    SARONE
    It;s no good to·me dead. Wasn't even the
    one I'm after.
    TERR;I
    (stunned)
    lnlat?
    SARONE
    I •m after a very big fish.
    Be turns and walks away. Terri is appalled. She runs to the
    edge,of the boat and looks to the now silent waters.
    86 EXT. BARGE DECK - DAY 86

    Denise kneels by the side of the barge, looking into the


    water. Ber eyes red £ram tears that can no longer flow. ·
    Staring, unblinking. She prays silently. ·
    Sarene works in the pilot house, alone, alienated from the
    group, apparently not too concerned with his current
    standing.· The· rifle slung aro1U1d his shoulder.
    SARONE
    Warren-- came -q.p here and take the wheel.

    u Terri .looks·at lu,m. Westridge hesitates.

    I.-•• um •••
    WESTRIDGE

    Sarene comes down from the pilot·house, grabs him and slams
    him against the wall.
    SARONE
    Listen you pompous windbag1 .get your ass
    .up there .·or I'-11 feed you to the
    piranhas~
    ,westr idge, unnerved, · does as he is told.
    WESTRIDGE
    I. see· manners don't count for much in the
    jungle either.
    Sarene stands behind Denise. Be :throws some flowers on the
    water and bows his head.
    SARONE
    As Jesus was coming up out of the water,
    he saw heaven ,being torn open and the
    Spirit descending on him like a dove.
    ( BEAT·) That was what Gary saw • .

    ( COl\l'l'IJ!IUED )
    . Shooting Script - Deoember l 74.
    86 CONTIRUED: . 86

    Denise stands and turns on him, enraged~


    DENISE
    Bow dare youl Bow dare you pray for Gary!
    You brought the snake. You knew we were
    caning. You brought the snake. The devil.
    You brought the devil.
    Sarone turns £ram her, he cannot help her. Denise falls to
    her knees,. sobbing. Be moves over to the footlocker-- which
    happens to be near where Terri stands. He begins to prepare
    a net. She turns to him, her voice even, cool, seething.
    TERRI
    You had this planned all along. Mateo
    was in it with you. Be led us to \you.
    You were waiting for us. ·
    SARONE
    You wanted to find the Shirishama. I
    wanted·to find 't:)le snakes. They are one
    and the same. That snake was only the ·
    guardian. Now we are in the land of the
    Shir ishama. .
    TERRI
    That's just a myth.
    SARONE
    Sametimes what we call myth is really the
    truth.
    TERRI
    And now you're going to get us all
    killed.
    87 EXT. RIVER NIGHT
    The barge floats down the river·· which glistens beneath the
    light of a half a moon. A mournful calm •••
    88 INT. CALE'S ·SICKROOM NIGHT 88

    Terri lies on a cot, near Cale, unable ·to sleep. She stands
    and rummages in her bag. She pulls out a ·tube of
    lipstick •.• gives it a long look, -before deciding to put same
    on.
    89 ON THE DECK 89

    Sarone has set his cot ••• in view of all ••• and from where he
    can see all. The rifle sits nearby. It does seem that he is
    sleeping with one eye open •••
    )
    shooting Script - Deoember 1 75.

    90 OMIT 90 90

    91 ON THE DECI< 91

    Tranquil, dark. .Terri walks quietly to where Sarone half


    sleeps. He-hears her footsteps, sits up suddenly, puts his
    hand on the gun.
    She stands there, ·nervous.
    SABORE.
    What can I do for you, Miss Porter?
    TERRI
    Nothing. I'm sorry to bother you.
    She starts to leave.
    SABORE
    (intrigued)
    If there is something you feel you need
    to say •••• please •••
    Terri turns.back towards him.
    TERRI
    I·guess I owe you an·apology_of sorts.
    SABORE
    I don't understand.
    She chews her thwnb, nervous and sexy, before breaking down.
    TERRI
    I thought I could, you know, cope. But I
    am way over my head. The .minute I saw
    that mons1:,er I knew. I have no business
    being put .in the jungle. I'm
    just .•• scared. I feel so lost •
    . Terri stands close to him ••• vulnerable.· Her eyes penetrating.
    SABORE
    You? You"re not lost. You are a very
    . strong woman, Miss Porter.
    TERRI
    Not compared to a man Ulte you. I•ve
    never met anyone so ••• strong ••• vital.
    She lets her body brush against his. Sarene gulps ••• tempted
    by this forbidden fruit.

    (C01!1''1'IRUED)
    Shooting script -·December 1 76 •.
    91 CONTINUED: 91

    SARORE
    (confessing)
    It's been a long ti.me since I was with a
    woman.
    Terri strokes his power~ul arms, his chest. She leans in to
    kiss him.
    TERRI.
    We' re lost. without you. You can save us •.
    Save me •••
    Sarone moves closer, touching her chin and moving her lips up
    to meet his, he wraps her in his ~ ••• they kiss . •. Danny
    comes creeping up behind him. Danny holds a piece of
    wood .•• just as he prepares to hit·sarone with it, Sarone, in
    one powerful movement, whips his knife out of his belt and
    puts the point at Danny's throat. Sarone holds Terri tight.
    SARORE
    Do you think I•m stupid?
    Danny backs up, shaken.
    suddenly, out of nowhere, Westridge hits Sarone on the head
    with a golf club. Sarone's knees wobble and.he drops -- out
    cold. Westridge smiles ••• satisfied.
    WESTRIDGE
    0 That felt good.

    92 EXT. BARGE DECK - DAY 92

    Sarone sits groggily on deck, .his head bloodied and bandaged,


    his hands tied behind his back. He roars like·a trapped
    animal·at his captives who-surround him.
    SARORE
    We• re all going to hell. You can• t
    survive this river without me!
    Sarone struggles and writhes, trying to get free. Terri
    shoves a MAP into Sarone's face.
    TERRI
    Recognize this, Sarone? I 1 d•ve thought
    you'd choose a better hiding place than
    your front pocket. Seems you•ve given us
    direction •••

    (CORTIRUED)
    ..:
    shooting scr~pt - December l 77 •.

    92 CONTINUED: 92

    Sarone snaps. at the map with his teeth •.


    TERRI
    ~···
    She walks away from him •.•• and the others stand looking at
    him, and Westr idge can• t help but saying •••
    . WESTRJ:DGE
    You ~re really a disappointment, Mr.
    · Sarone. A man with your talents ••• you
    could've gone far. ·
    93 EXT. AMAZON DAY 93

    A new atmosphere has taken over the boat: a sense of freedom


    and joy as the crew motors dowm:iver.
    Sarone is still tied up on deck as the barge moves forward at
    full throttle. Denise sits nearby, still n'1Jllb.
    94 INT. PILOT HOUSE 94

    Westridge pilots the boat with a light hand.


    TERRI
    Your sure you can drive this thing?
    .WESTRIDGE
    Like driving an old Cadillac Fleetwood.
    DANNY
    I can•t wait to get back to the
    city ••• I.'·ve been out in the boonies too
    damn long.
    WESTRJ:DGE .
    What will you do when you.return.to
    civiiizati011? An opera? An af~noon at
    the Museum-perhaps? Or a ~eal at Le Cote.
    B_asque?
    DANNY·
    Nah. I'm gonna have a slice, put on the
    Knicks and sip a cold Miller Lite.
    Wes tr idge gives Danny a wry look ..
    WESTRJ:DGE
    I see •.• you mean borough civilizati011.

    (CORTIBtJED)
    Shooting Ser ipt - December l 78.
    94 CONTINUED: 94

    TERRI
    We've got a long way to go, guys.
    WESTRIDGE
    Right you are.
    TERRI
    I'm going to check on Denise. She's in
    bad shape •.•
    Terri starts off ••• WHEN:
    The wheel suddenly lurches in Westridge's hands, knocking him
    to the floor. Terri grabs the wall for leverage, and Dalllly ·
    reaches over to kill the ignition.
    · .95 EXT. -ON DECK 95

    It's as though they· ~ust hit a brick wall: people, supplies


    and gear go flying. Sarone skids across the deck, still tied
    to a chair, while Denise grips the rail.
    95A INT. CALE'S ROOM 95A ·

    The jolt seems to have wak~ Cale. Bis eyes pop open and.he
    looks around his cabin ••• completely disoriented. ·

    u 96
    EXT. RIVER
    Terri ancl Danny scramble out of the wheelhouse, followed by a
    96

    stulllled Westridge. They rush to the front rail.


    They are at a point where a broad stream ~oins _the main
    river • .Above the stream, a waterfall cascades from under a
    jumble of logs, then surges over a series of terraced
    platforms. Rays of sunlight sprinkle through the branches.
    They are a~d by the sight, though not by the situation: ·
    . DANNY
    (to h.illlself)
    The water£ all. •• this is too cree~. ·
    The barge has run around in a shallow challllel where a delta-
    like sand spit splays out from the small tributary a
    waterfall. On each si~, broad white sand banks littered
    with boulders and.driftwood recede to the forest tree line.
    Danny surveys the damage.
    DANNY
    Shit. We've hit bottom. We' li have to
    winch-it off.

    (CORTI&OED)
    Shooting script - D~ember 1 79.
    96 COR'l'IRtJED: 96

    · Danny .grabs a winc.h cable and nervously slips. into the water.
    DANNY (COR'l''D)
    () Let's do this fast. I got a bad feeling.
    He drags the cable to a nearby boulder, but it falls a few
    feet short. He strains to stretch out the slack, but there's
    n~ way it's going.~ reach. ·He yells to 'l'erri and-Westridge.
    DANNY (COR'l''D)
    Gonna need.a push. or a pull here.
    'l'ERRI .
    We' re right there, Danny. Westridge •••
    WESTRIDGE
    But I've ••• I've ••• I helped bring that
    .!ftOnster down. Didn't I?
    'l'ERRI
    Which makes me confident that you are fit
    for_ any job. ·
    'l'erri and (re:luctantly) Westridge slip into the waist-deep
    water in front of the l:>a.rge. 'l'hey slog to the shore and coil
    the ropes aro~d their shoulders. Straining, pulling with
    every ounce of strength in their bodies. 'l'he barge scrapes
    ahead a few inch•s.
    EXT. BARGE - DAY 97

    . Denise, eyes cold, rises slowly from the deck chair and pi.cks
    up a large, serrated hunting knife, checking the edge and
    feeling its weight and balance. She walks toward Sarone.
    Her footsteps click loudly·c;,n the deckboards, and Sarone sees.
    her coming. He looks up at her with empty eyes.
    · DERISE
    _It's you or us. Isn't it?
    SARONE·
    so i t seems.
    sarone turns his back to her and begins praying.
    DERISE
    ~o. Stop. You don't deserve to pray.
    SARONE
    Then you pray for me.
    He turns and looks at her. Their eyes meet.

    (COl!l'l'IllltJE~) i
    Shooting Ser ipt - December ._1 so_.
    97 COl\1Til\1UED: 97

    BARONE
    Don't +ook at my eyes. The eyes ·of those
    you kill will haunt you. I know.
    Denise's body shakes with rage_and fear. Denise lifts the
    knife ••• but cannot bring herself to kill. She looks down,
    defeated.
    DERISE
    .Why? Why are. you ~ere?
    Sarone.suddenly heaves his body up and wraps his legs around
    ·her throat in a wrestler-like scissors hold. Be squeezes
    with all his strength, and she drops the knife to the deck.
    SAROl\1E
    .In my name they will drive out demons,
    the will speak i11 new tongues, they will
    pick up snakes with their hands, and it
    will not hurt them at all; and they will
    place _their hands on the sick and heal ..
    them •••
    ..
    Denise's arms and legs kick and flail as her cells scream for
    oxygen.
    SARONE
    I am here to save the world.
    0
    .98 EXT. RIVER 98

    Danny, Terri and Westridge give one.more heave-ho, and the


    barge pulls fl::ee. They are elated.
    DANNY
    Now ~t•s my turn to drive.
    A gust of wind blows Westridge's hat off his heac;. Be curses
    ("Damn") and stops to pick the now-soaked hat out of the
    water as T.erri and Danny move forward to the now drifting
    boat.
    FROM THE SHORE, AT A DISTANCE: For a few seconds it seems
    just another .angle on our characters returning to the boat.
    BUT NOW WE MOVE FORWARD AS IT DOES, 'Off ·the shore and into
    the water and toward Terri and Danny and Westridge. It is
    the POV OF AN ANACONDA ••• moving slc;,wly in for attack •••
    Shooting Script - December 1 81.

    99 EXT. BARGE DECI< 99

    Sarene is still squeezing Denise•• s throat, ,cutting off her


    breathing. She struggles to try·to pull his powerful legs
    apart, but she sinks slowly to her knees, her arms flailing
    about, knoc~ing over ·a nearby chair.
    100 EXT. RIVER 100

    Danny approaches the edge of ·the boat-- he can hear the


    whisper of struggle onboard~- uncertain what it is he knows
    it's not good and at just this moment he senses.something
    ·else~ •• movement in the .water ••• he turns, alarmed ••• '.rerri
    turns in. reaction and both see the ARA.CORDA just as it slips
    underwater creating ripples moving with tremendous speed •••
    DAl!1NY
    · on the boat! Get on the boat! ·
    I The boat has caught the current and moves ahead of them·and
    1• .

    they run like hell·and Westridge sees the ripples now,


    cutting through the water, dividing him frC!Dl Danny and Terri:
    SNAXE •S POV: Feet splashing through the water . .•
    100A MEDIUM SHOT: 100A

    The .MASSIVE .. SNAKE emerges from the water; hesitating,


    0 Westridge shouts and waves at the snake, distracting it from
    Terri and Danny •.•
    SNAXE'S POV: JUNGLE AND WATQ SWISHES BY and now a quick
    STOP: WESTRIDGE is center frame now, staring, terrified, but
    standing .his groun4. ·
    WESTRIDGE .
    For God, Q_ueen and Country!
    The snake moves towards him and he starts to run back to the
    sandbar upon which the boat was· stranded.· The snake moves
    toward him, dipping beneath the water.

    101 EXT. BARGE DECI< 101

    Denise is dead now. Sarone has her knife and is cutting the
    ropes that bind him.
    TERRI AND DANNY climb onto the boat and turn to look across
    the water as Westridge stands on the sandbar, still frozen in
    terror.

    (COl!1Til!1tJED)
    shooting Script - December 1
    101 CON"l'IRUED: 101

    TERRI
    Up, Warren! Up the rocks !
    Wes tr idge turns and moves to a jagged staircase. of rocks, and .
    begins to climb, toward the nearby WA'l'ERFALL~ The MASSIVE
    SNAKE moves from the water, onto land, toward him; Terri. and
    Danny yell out to tlle snake, trying to divert its attention,
    to no avail.
    SARONE is free from his ropes.. He looks down at Denise• s
    lifeless body, with malevolent.contempt.
    102 WES'l'RIDGE !«>VES BEHIND TBE WA'l'ERFALL~ 102
    And we are close on his face now as he looks through.the veil
    of water, watching the anaconda onshore. It appears to have
    lost sight and sense of him. He stands stock still •••
    . The ANACONDA fl-icks its tongue ••• also still~ •• picks up a
    scent ••• moving now ••• toward Westridge ••• who. continues to
    watch through the fall as the snake moves closer ••• Westridge
    has no pl~ce to move ••• he can only watch ~s 't;he vague shape
    of the ANACONDA moves closer still ••• it is at a distance
    ~hich allows Westridge ten seconds to act •••
    And those ten seconds vanish in half a second: the snake
    LUNGES FORWARD FIFTEEN FEET in the blink of an eye, its head
    splitting the veil of the waterfall ••• inches away now ••• ·
    WES'l'RIDGE LEAPS out of the falls,· and the snake turns •••
    103 ANGLE DOWN ON WESTRIDGE: 103

    THE DYING TREE STRAINS FROM THE WEIGHT, it's roots appearing
    out of the loose soil.
    104 TERRI ~ND DANNY WATCH, FROM'TBE DECK,· HORRIF~ED ••• 104

    Sarene approaches from behind, knife ·raised. He moves to


    attack, and Danny turns just in time to see the blade coming
    now toward his heart and he reaches •up and grabs Sarone•s.
    wrist, stopping the knife j-ust short.
    105 WIDE SHOT SHOWS THE TREE NOW FALLING 105

    The snake lets holds tight at both ends, and Westridge hangs
    like ·some strange fruit, struggling in va,in!
    106 MEANWHILE DANNY WRESTLES AND FIGHTS WITH SARORE 106

    Dodging knife thrusts. His success. is limited as sarone


    _plunges the knife into Danny• s thigh. Terr searches for same
    ·weapon with which to help Danny, but her search is short as

    (CORTIRUED) ·
    '
    Shooting sc:ri.pt - December 1
    106 CONTINUED: 106

    the crac·k of the tree causes her to turn and look up: it's
    coming right down on her. She leaps overb::>ard, narrowly
    avoiding it; one of the branches strikes Danny, knocking him
    into the water as well •••
    CLOSE. ON WESTRIDGE, on the opposite side of the boat: The
    anaconda squeezes the last breath out of him, and hi.s final
    expression i.s one of astonishment.
    Terri. and Danny find their bearings in the water ••• • I

    Sarone clatters up the steps to the pilot house •••


    The ANACONDA, hearing this noise, lets loose of westridge and
    spins a slow circle in the water •••
    Sarone fires up the engines. The boat, already drifting,
    accelerates and moves out of frame, revealing the ANACONDA,
    thirty yards from Danny and Terri. Danny sees the monster,
    and grabs the back of the boat at the last. moment with one
    .hand, reaching out with the other for Terri. She can't reach
    his hand. He is being pulled away from her~- he _extends his
    leg ·and she grabs it, holding on for·dear µ.fe.
    Danny struggles to pull himself onto the boat ••• 'l'erri ·grabs
    onto the. railing ••• the ANACONDA is right behh>d them, moving
    toward them wi.th blinding speed. ·Terri pulls herself onto
    the deck, then grabs Danny's hand to help him JUST AS
    0 . .
    THE SNAKE LEAPS out of the: water and bites Danny on the
    .. shoulder, then starts to coil around him. Terri is knocked
    back, and she looks around in pani.c. Sees the SHOTGUN _and.
    runs for it. Grabs it. The snake is making a second loop
    around Danny. Terri takes aim when: ·
    DENISE'S BODY bobs up in the water; floating by. Startling
    Ter;ri and distracting'the snake.- Still coiled around Danny,
    the snake lunges.at Denise's corpse, it's jaws clamping onto-
    Denise's shoulder. and lif~ing her corps~from the water •••
    Greed is not good.· Terri now ~as time to.take more careful
    ·aim, though now she hesitates--:- she doesn•t·want __to shoot
    Denise though Denise is obviously dead. Terri looks at
    Danny's terrified, contorted face ••• the life .is being sucked
    out of him ••• she steadies herself.· Aims again. , Shoots.
    The snake• s head explodes. Blood and skull bone and brain
    shoot into the air. Instantly dead, the snake releases Danny
    and flops like a pair of jeans (a VERY LARGE pair) laid.out
    to dry.
    Terri reaches a_hanci down.and helps Danny onto the boat, and
    both ·look as Denise's body floats off down the river •.

    (CORTIRUED)
    Shooting; script - December 1 ·84.
    106 CONTINUED: (2) 106

    DANNY
    Row you know why I hate snakes.
    (J suddenly, they hear the release of a tranquilizer gun.
    ,Turning sharply, they see an object streaking through the air
    toward them! They dive aside just in time, and the dart
    -takes a chunk out of the railing.
    Sarone quickly reloads as Danny grabs the rifle and fires.
    The bullet riQochets off the pilot house.
    Sarone and Danny creep around the. deck, with Danny limping :
    from the knife cut on his leg. The tension is thick as they.
    try to get a bead on each other.
    ANGLE: CALE'S ROOM.

    Cale hears the gunshots and, with some effort, sits up and
    pulls ~imself.to stand. Leaning heavily on the wall he
    staggers out of the cabin.
    ANGLE: OR DECK.
    Sarene sees a.shadow and fires a second dart. It whizzes
    past Danny's head and flies off into the jungle. Danny
    shoots back with the rifle, missing again.·
    Sarone .has roamed away £ran his storage of darts, so he moves
    0 quickly back to the footlocker for more.. Opening the locker,
    he looks puzzled -- the darts are gone.
    Cale is suddenly there behind him, thrusting the needle of a
    tranquilizer canister into his back, directly between his
    shoulder blades.
    Sarene screams in agony as he spins around. The knife is
    suddenly in ·his hand ..· He wea~s a bit as the tranquilizer
    begins .to take hold, and his swipe with the knife is weak and
    wild. .
    Terri>grabs Cale and pulls-him out of Sarone•s range. Sarene
    staggers after them like a drunken sailor. 'Reeling, bouncing
    off walls, he w~n•t stop.
    Danny has Sarone in·his sights. He squeezes off the killing
    shot -- CLICK! The rifle is empty. . .
    '
    Just as Sarone corners Terri and Cale, he turns groggy. His
    eyes roll up into-his head.as he stumbles two more steps,
    then falls over the railing and landing heavily in the water.
    Danny watches Sarene's body go under.

    (CORTIBUED)
    shooting Seri.pt - Deeember l 85.
    106 CORTIRUED: (3) 106

    DANNY
    ·pleasant dreams~ ••
    (-"\· And the barge moves forward through the water.
    ' ''-..__ _____.,., I

    Danny turns and moves to' Terri.. Cale collapses i.n her arms
    exhausted and trembli.ng. Danny helps her lift hi.m.
    TERR.I
    Steven? Steven? Can you hear me?
    CALE
    Down. Pu~ me down •.
    They lay him down on the deck. Be chokes and gasps ••• fi.nally
    hi.s breathi.ng resumes a no:cmal rhythm.
    They see the DEAD SR.AKE hangi.ng off the deck. Danny gets up
    and·moves toward i.t, sti.11 a little fri.ghtened, but need.i.ng
    to f a.c::e hi.s fear.
    DARRY
    Where's my camera? I. gotta get a shot of
    thi.s thi.ng.
    Danny turns to look for hi.s camera. Terri. i.s up and ri.ght
    behi.nd him. She kneels down and grabs the front of i.t and
    hefts i.t overboa;rd. It drops i.nto the dark water, qaii.ckly
    0 si.nking to the l:x:>ttan.
    TERR.I
    No snakes.
    A sputter and a gurgle as the engi.ne churns and moans and the
    propellers quit spi.nni.ng and the noi.se of the engi.ne ceases,
    leaving only the·sound of the jungle.
    DANNY
    Oh, shit •••
    TERR.I
    What?
    OAl!TNY
    I think we're out of gas.
    (beat)
    I haven't said that si.nce hi.gh school • .
    TERR.I
    The· rest of our tri.p is downriver. We' 11
    make i.t. We have to.

    (CORTIBOED)
    Shooting Script - Decem}:>er 1
    106 CONTINUED: (4) 106

    She looks at Cale.


    TERRI
    Let's get him back in his roam.
    The.boat has slowed .to a virtual halt. Danny looks at the
    wide, stagnant stretch of river that extends ahead as far. as
    the eye can see. It doesn • t look. good. ·
    l,.07 OMIT 107 · 107,

    ·.108 CALE.' S ROOM 108

    She·is surprised to see th,at Cale's eyes _are open, searching


    the roam in feverish confusion. She quickly moves to him and
    takes his hand.
    TERRI
    Steven •••
    He manages to f~us on her face.
    CALE
    Terri •••
    . (beat)
    Where are we? What.happened?
    TERRI
    It's a long story, Steven. We're headed
    heme. · We• re gonna .get you home •••
    He smiles. She squeezes his hand •.
    ·CALE
    Dinner and a movie maybe?
    TERRI·
    I plck the movie. ·NQthing with guns,
    knives or bambs •
    .CALE
    Chick-flick.
    TERRI
    Damn straight •••
    He closes his eyes. To sleep now. His breathing is regular.
    She touches his face tenderly •••
    ••. and hears ,Danny calling her from offscreen. She
    hesitates, then stands, moving out of the roam.
    Shooting Ser ipt - Det:.--emher 1 87.

    109 EXT •. DECK DAY 109

    Terri emerges from Cale's room to the sight A wide swath of


    bright sunlight suddenly sweeps across the barge, and the
    veg~tation all .give way to blue sky. Terri joins Danny in ,
    the pilot house •• ·.and is hit by a WIDE SWATH OF SURLIGHT
    which.sweeps across the barge. The once thick vegetation has
    given way to clear blue sky all around her. She runs up to
    the pilot house-- ·
    109A ANGLE: 109A

    Danny steers the barge as it drifts in the languid current.


    TERRI
    (smiling)
    I think he's gonna make it.
    DANNY
    Fantastic.
    The north shore broadens into a natural bay that.is littered
    with 50 gallon drums and floating clots of oily scum. Sagging
    cranes, mounted on concrete, overlook a vacant dock.
    DANNY (CONT'D)
    Bold the wheel.
    Terri takes the wheel. Danny scrambles for his camera and
    screws a long zoom lens into place. Be walks out on deck and
    · looks through the lens. ·
    109B DANNY'S POV~ THROUGH THE SHIFTING FOCUS OF THE LENS 109B
    A large, decaying structure, partially reclaimed by the
    jungle. Faded lettering reads : AR.ACORDA MILL co. Jeeps and
    fuel tr"Q.cks rust in.twisted hulks. A tall, brick smokestack
    rises µpout of the.debris.
    TERRI
    What is it?
    DANNY.
    Looks like an old mill or something.
    Danny racks focus· to reveal more of the strange devastation.
    DANNY (CONT'D)
    I don't see any people.

    (CORTIRUED) ·
    Shooting Script - December 1 ss ..
    109B CONTINUED: 109B

    TERRI
    Any extremely large reptiles?
    \~ Danny gives her a look.
    DANNY
    You don't believe Sarene's story?
    TERRI
    Be was right about the guardian snake.
    This looks like a lake . ..
    Several leaky. fuel drums bob on the tranquil surface of the
    water.
    TERRI
    Poisoned waters.
    DANNY
    Look. We need fuel·, drinking wate;r.
    Terri steers towards the dock. ·
    TERRI
    Ok. Letis go. Let's just be careful.
    OMIT 110

    c~ 111 EXT. SAW MILL - DAY 111

    Danny limps with Terri toward the mill. They walk past the
    heavily crumpled jeeps and mangled wreckage. The damage is
    bizarre, otherworldly.
    TERRI
    Jesus ••• what happened?
    Danny and· Terri e~cl;lange a· look, .·and a shudder. They know
    what happened. ·
    Terri walks past a large incinerator, with a tall smokestack,
    to the front doors of the mill.
    112 INT. MILL - DAY 112

    Dust and filth everywhere. Danny and Terri look down the
    length of the mill. Massive sawblades stand silent. Shafts of
    grayish light pen~trate the gloam. stacks of lwnber, cinder
    blocks, rebar, crates, and other material are scattered in
    random heaps. The floor is littered·with sawdust, scraps of
    wood, metal bindings, etc. Opposite the saw, connected by a
    series of fractured catwalks, are the deserted mill offices.
    Everywhere they look are signs that the jungle has quickly
    reclaimed the property.

    ( CONTIBUED) ·
    Shooting Script -December 1 89.
    112 CONTINUED: 112

    As they walk through the mill a massive· shadow shifts ever so


    slightly behind them. Danny turns just as the shadow stills;
    ·he sees a·defunct telephone on the wall next to a faded
    Playboy centerfold. Terri picks up the phone and puts it to
    her ear.
    DAl\TNY
    Didn't pay their bill.
    They walk towards the back of the building and stop short
    when they see a large wood
    pulp mountain made up of :r;otted
    scraps and discards on the back wall. The . mountain blocks any
    doors or windows in the back.
    DAl\TNY (COl\TT'D)
    What the?
    Danny looks at the pulp mountain and it seems to be alive.
    It is actually moving. It only takes a heartbeat for them to
    realize that the wood pulp is swarmed by living anacondas
    .that squirm and writhe. They are young, no longer than six
    feet, nesting in the pulp.
    TERRI·
    Babies.
    .DANNY
    (unnerved)
    0 Whatever. Let's get out of here •
    .They move back towards the front and see an old incinerator
    furnace, part-of the massive chinm.ey that rises out of the
    mill. Next to the furnace: a stack of 55 gallon fuel drums.
    Danny shuffles quickly to a stack of fuel drums against the
    wall. He wres~les one pf the heavy~ into position~
    DANNY (,CORT' D)
    Here we go.
    TERRI
    Let's get them to the.boat.
    Danny looks down at his .leg. The exertion has opened his
    wound.•.

    Oh_ man.
    · Terri notices. She takes off her shirt (she wears a T-shirt
    beneath) and expertly ties a tourniquet around his wound. The
    flow is stopped.. ·

    (COIITil!ltJED) l
    shooting Script_ necember l 90.
    112 CONTINUED: (2) 112

    DANBY (CONT'D)
    Hey. You go to jungle survival school or
    something?
    TERR4
    Nab. I saw a guy do it on the subway.
    They·tip a drum on its side and roll it towards the door.
    113 EXT. MILL - DAY 113
    They come out of the building with the fuel drum and·
    immediately see something unsettling:
    The Boat has drifted away from the dock to the opposite
    shore, a couple hundred feet upstream, where it sways in the
    current, caught in a tangle of overhanging tree l.imbs.
    DANNY
    I set the anchor •••
    · Terri runs towards. the river. Danny jogs, limping, after .
    her.
    Danny reaches her and they stand, next to a clump of trees,
    watching the boat drift. The sudden.horrible reality of the
    situation becomes clear.
    DANNY
    · ( hoarse whisper)
    Saron~!.
    Suddenly a voice, a movement from behind.
    SARONE ·
    No need to be discreet.

    Danny a~d Terri spin towards the voice and are met head on
    with the butt of a rifle.·
    COT TO BLACK:
    OMIT 114
    FADE UP:

    115 INT. MILL - DAY 115


    Terri and Danny sit, still unconscious, back to.back in the
    middle of the factory floor. They,are bound ankle and wrist
    by gaffers·tape and appear to be sitting in the middle of a
    large net that has been spread on out on the floor. Sarone
    stands in front of them holding a bucket.
    i

    (COR'l'IRUED)
    Shooting Script - Det,emJ,er 1 91.
    115 CORTil!ltJED: 115

    SARONE
    Rise and shine J ·
    Sarone dumps the contents of the bucket on them. Danny and
    Terri wake immediately ar;s ~he sticky liquid hits their faces.
    DARl!lY
    (spitting)
    Ahh. Man!

    SARONE•
    A little monkey blQOd.
    Terri's eyes burn into Sarone.
    TERRI
    I'm going to kill.you s~one1 I swear to
    God. I am going to kill you.
    She squirms and thrashes trying to break free.
    SARORE
    That's good. Excellent. You know the
    secret is to put the,hook just deep
    enough into the worm so that it is still
    . alive. Bait needs to wiggle. Your
    heat ••• the vibrations ••• the smell of
    fresh blood.
    0 TERRI
    You ~re out of your fucking mind!
    SAR.ORE
    (shrugging)
    I'm·not-a man of science like your-Mr.
    Cale, he's not a believer. I'm a man of
    the r:iver and I don• t have. to believe.
    -(BEAT) I know.•.

    sarone slinks off into the shadows. Silence. The air grows
    still. ·Shadows shift against. the walls.
    suddenly Terri ~ealizes, as Danny already has, the canplete
    vulnerability of their situation. They both begin to squirm
    and strain against the shackles 11 11
    •

    .DAl!lRY
    It's no use. This is the best tape you
    can buy.
    TERRI lets out ·an animal scream of rage and frustration.

    (COl!lTIBUED)
    Shooting Script December l.
    115 CONTINUED: (2) 115

    As she screams the camera pulls back and up to the furthest


    ·corner of the room. Danny·and Terri sit together, specks on
    the floor., like pieces of cheese for some- gigantic mouse. The
    camera keeps pulling back, through a window, up and out of
    the. building, back and back further unt.i.l the sawmill begins
    to blend into the jungle.
    116 IN THE IMMEDIATE FOREGROUND: 116
    I A long TON~tJE flicks out, entering our view £ram the upper
    left corner. Sensing, smelling, seeing •••
    The CAMERA DIVES towards th~ mill, through branches and
    walls, taking just seconds to frame Danny and Terri, just as
    . we left them, struggling in vain... ·
    11 7 DARRY AND TERRI 117
    Continue to thrash and struggle. Terri looks up and sees the
    saw blades.on the level above them.
    TERRI
    Think we can make it; up that ladder?
    Danny cranes his neck. I<nows what she's thinking.
    DANNY
    Yeah. Maybe.
    They wriggle across the floor -- without th~ use of arms or
    legs they, ironically, move like snakes .
    . OMIT 118.
    119 DARRY AND TERRI· 119
    .Almost to the bottam of the ladder, determin~, it looks like
    this just. might work ••• ~til we _see the length of rope that
    is tiedto Danny's ankles and is now stretched taut, its
    opposite end tied to a wooden post. Dai:µiy thunks his head
    against the floor in frustration. ·
    Terri squints up at the saw blade only a short ladder climb
    away. And suddenly, it's dark as night, as if sameone has
    just turned off the lights.
    Danny looks up at the skylights., He and Terri see the
    silhouette of a MASSIVE ANACONDA slithering across the roof
    and into the building through a high window.
    Terri gasps.

    (CON'l'IRUED)
    shooting Script - December 1 93.
    119 CORTINUED: 119

    The. snake flicks its tongue out; picking up their scent,·


    slithering through the window and down th~ entire length of
    _the wall ••• it keeps coming and caning, and for the first time
    we see its astounding size -- forty plus feet. 'l'he catwalks·
    and.ladders strain and creak under its immense weight.
    The snake drops to the factory floor and moves towards the
    terrified pair. D~y and Terri scoot away from the snake as
    fast as they can, tearing and biting desperately at their
    bindings.
    The _snake comes quickly up to them, stops and rises over them
    · preparing to strike .•• mouth open ••• dripping fangs bared •• ·•
    The snake lunges forward with blinding speed. Danny and Terri
    attempt to roll out .of the.way.but the snake scoots towards
    them, quickly coils around both of them, and starts to
    squeeze.
    TERRI
    (screaming)
    Saronel
    Her scream is cut off by the power of the constriction.
    Sarone appears, swinging from a rope. The rope is attached-to
    a pulley and Sarone•s weight quickly pulls a large net up

    u from the floor and around the snake. The snake, distracted
    and angry, thrashes violently against the net. Loosening its
    grip on Danny and Terri.
    Sarene ties the rope down 'and moves forward, he raises·the
    tranquilizer crossbow and fires. The bolt cuts the air with a
    hiss, hitting the snake full in. The snake hisses, a sound
    not of this earth
    . SARONE
    .. ( shouting ·back)
    Who's the strongest now?
    • f • •

    . .

    •sarone puts .down the crossbow and walks towards the snake
    with. the· 1arge nm.zzle. But the snake isn't ready .. to go to
    sleep. The snake is aggravated. In one fierce movement the
    snake tosses Danny and Terri like rag dolls, shreds the
    netting and comes after Sarone.
    Danny is badly bruised, but·his,arms are now free.
    SARONE (CORT'D)
    Another dose, eh?
    Sarone is amazingly calm as he loads the crossbow and fires
    again. This time missing -- the snake lunges at him, knocking
    ) the crossbow from his hands. Now Sarone is concerned.
    .)

    ( CONTIROED) · i
    Shooting Script - oecemh-.r l . 94 ..

    119 CORTIRUED: (2) 119

    Danny rips the tape off his legs and helps Terri •
    •~ Sarene moves fast, racing up a rusty old ladder. ·The snake
    ,, ___ j follows. Sarene is almost to the top of the ladder ••• the
    snake curling around it ••• climbing quickly ••• just as Sarene
    is stepping off the ladder, the full weight of the snake
    tears the rivets from the wall and the ladder, Sarene, and
    snake fall to the ground with a thunderous crash.
    Sarene.lands hard, but manages to get to his feet. The snake
    coils, preparing to strike. sarone screams with primal rage',
    his arms- extended as if he intends to wrestle the massive ·
    reptile.' -The ·snake strikes, meeting him head-on with an
    awesome impact, quickly loops Sarene's body, and begins to
    squeeze.
    A machete, hanging from Sarene's belt, gets caught between
    the body of Sarene and the body of the snake, cutting into
    ·both as the snake powerfully constricts. Sarene struggles,
    his face bright red and bulging, blood· dripping from, his
    ears. The snake squeezes tighter, breaking bones are heard.
    Blood erup~s £ram Sarene's ·mouth and nose •. An eyeball bulges
    obscenely before plopping out o~ its socket. ·
    Terri _and Danny, now free, hide behind a stack of lumber.
    ·They watch in horror as the snake opens wide its jaws and
    begins to swallow Sarene head first.
    0 120 INT. SAWMILL - DAY 120

    Danny and· Terri creep.quietly towards the front doors. 'l'he


    snake lays still, digesting, between them and the .door. A
    large lump, formerly sarone, _can be seen below the snakes
    neck. They sneak around a piece of machinery and the snake is
    instantly alert to their mo~nt, its massive tail whipping
    aro~d, its tongue flickin~out. ·
    The snake is so big-his body, even when partially coiled,
    seems to be.everywhere. 'l'he front doors are blocked by the
    snake. A crack in the walls to.the side are blocked by the
    snake. Danny·and Terri look. over behind them and seethe pulp
    mound full of -writhing anacondas. No way they•re ..cli.mbing
    over that to get out. They.duck back into the shadows.
    DANNY
    Ok. Ok. We gotta get a grip.
    Terri looks around.
    TERRI
    Do you think that tranquil~zer worked?

    ( CORTIRUED) . 1
    shooting Scr.ipt - December 1 95 •.

    120 CONTINUED: 120

    DARBY
    Yeah ••• like half a beer to you and me.
    TERRI
    Maybe he's done?
    DARBY
    You think he won't snack between meals?
    . TERRI
    I don't know. We're ~apped.
    They exchange. a look.
    DARBY
    Ok ••• Bow do we kill it?
    Terri looks up to the second floor.
    TERRI .
    Maybe there's something up there.
    Danny- looks around.and sees the answer:·the.fuel druins.
    DANNY (CONT'D)
    We burn it. You check out the office.
    I'll try to figure this out.
    0 OMIT 121., 122, ·123, 124
    125 INT. OUTER OFFICE - DAY 125
    Terri walks quietly down the corridor and into·the small
    outer office. She begins to search the decrepit office. She's
    momentarily startled when she sees her reflection in a large,
    dirty mirror. She finds a length of rope coiled in the
    corner. She ducks down to pick it-up.and, at exactly the same
    moment; .thesn~e comes smashing .in through the window
    attacking the mirror, .with awesome ·power!
    The mirror explodes. The snake-is momentarily stunned.- 'l'erri
    runs into the next office. She slams the door after her.
    OMIT 126
    127 INT. INNER OFFICE - DAY 127
    She slams the door behind her. Barely able to catch her
    breath, before a small snake leaps at her from above, coiling
    around her head. She grabs the feisty little snake, tearing
    it off her neck, and throws it to the floor. It slithers
    between some boxes.

    (CORTIBUED) i
    shooting Script_ December 1 96.
    127 CONTINUED: 127

    Scanning the roam -- a bookcase, ·a desk-. She starts to rifl~


    through the drawers. First drawer -- nothing. Second drawer -
    - junk, paper, ·nothing useful. Third drawer -- smashes to the
    floor -- a hammer. she reaches for it and at that moment the
    .SOUND OF POUNDING against, the door. She pushes the heavy desk
    against the door. The snake keeps bashing against it.
    SUDDENLY the wall iJ,ext to her caves in as the snake smashes
    through. it inches from her head. She backs away -- .
    mamentari~y p~alyzed: Her expression turns £ram.terror to
    revulsion as the snake takes a moment to regurgitate Sarene's.
    body. · .
    She vaults through the window back into the main roan. The
    snake is quick on her trail •
    .127A BOILER 127A
    There is no other escape route. She's trapped. Spying an old
    heavy.metal-boiler nearby, she opens the small door an~
    _climbs in, shutting herself inside.
    127B INT. BOIJ;.ER 127B
    Terri waits in the boiler,. listening. Sounds cane from the
    other side of the roan. All she can see is the ceiling above
    her through the vent-blades. A.SUBTLE SHADOW moves across the
    ceiling .• .;then disappears. She looks relieved, and this
    relief lasts for perhaps half a second before the SNAKE'S.
    MASSIVE HEAD comes into view. The snake stares straight at
    her, its fangs bared, its tongue flicking in and out.
    127C INT. MAIN ROOM - CONTINUOUS 127C
    THE SN.Al<E COILS WITH BLINDING SPEED around the boiler, the
    heavy metal beginn:1-ng to collapse like an aluminum beer can,
    closing aro~nd Terri. The.rivets pop off and the bottom of
    the boiler starts to cane loose. ·The snake tries to .LUNGE its
    head into the boiler, its.jaws snapping inches away.from
    Terri's face. But the opening.of the grate is too small for
    the snake's current width. Terri struggles to close the
    spinning ventf but it has rusted. So... · ..
    The·snake rears.back and CONTRACTS ITS MUSCLES ••• becaming
    skinnier befo~e our eyes. It lunges again, jaws open, f~ot-
    long .tongue lashing out, inches fram Terri. She doesn •t even
    think before smashing the vent with the.hammer, sp;nning it
    closed and SLICING OFF THE SNAKE·' S TONGUE -- using the v~t
    as a spinning guillotine.
    screaming with pain, the snake retreats •••

    (CONTiaUED)
    shooting Script - oecem'ber l 97.
    12 7C CORTI RUED: l27C

    Terri drops out.of the bottom of ·the boiler and runs like
    hell through the splintered doorway, through the office
    (where she stumbles over Sarone•s partially digested. corpse),
    through the front room.
    The snake, wounded and angry, slithers after her.

    OMIT 128

    129 IR'!'. IRCIRERATOR 129

    Danny roll~-another fuel drmn into the incinerator. Be's got


    about 4 or 5 or them there. Be looks up the smokestack and
    sees a series of rungs leading to the top.
    Terri comes sprinting around the corner. Danny catches her.
    DARBY
    Whoa!
    TERRI
    (catching her breath)
    It's coming.
    Danny hears the otherworldly sound of· the screaming, hissing, .

    u snake.
    DARBY
    (pointing to the incinerator)
    We've got to get it in here. ~ive me that
    rope.
    Danny grabs the rope from her shoulder.
    DANBY
    -It can follow.me .µi-.

    The snake comes towards them hissing with killing fury. Terri
    grabs the rope back from Danny.
    . TERRI
    I got the legs, remember? You just do_
    . your part.
    Danny reaches for her, touches her shoulder, she smiles •• ~he
    wants to say something ••• but there's no time. The snake
    starts to move towards them. Danny dives behinds same boxes.
    Terri runs into the incinerator. Danny watches as the snake
    follows her.
    r Shooting Script - Deaember. 1 98.

    OMJ:T 130, 131, 132, 133,.134, 135

    '~ 136 INT •. SM:::>KESTACX- DAY 136


    \ _____,,/
    Ter;-i hangs on the lower rungs waiting for, what seems like a
    lifetime, the snake to ooze in and locate her.
    TERRI
    (screaming)
    Danny! This had J;,etter·fucking work!
    She .l,egins climbing up the smokestack rungs, filthy with
    soot. The coiled rope around her shoulder, the anaconda at
    her heels.
    137 INCIRERATOR DOOR 137

    Danny watches as the anaconda disappears inside the furnace.


    Be immediately begins to·roll one of the fuel dr\'DIIS into the
    incinerator.
    DADY
    Gonna barbecue the-mother •••
    138 INT. SMOKESTACK 138

    Terri furiously pulls herself 1:.hrough the dark brick tunnel.


    Some of the metal rungs are loose and her feet slip and
    dangle momentarily before she pulls herself, hand over hand,
    up and up. Ber face has a look of fierce determination.
    139 DANNY 139

    Danny floods the incinerator floor with fuel. Several drums


    £:Stand open in the pool of combustible fluid. Danny dunks a
    short length of.canvas strapping into the fuel. Be then rolls
    the length oqtside: a makeshift fuse. Be reaches in his
    pocket. for his -matches.·, They are soggy with monkey blood.

    Shit!
    140 EXT. SMOKESTACK 140

    Terri finally reaches the top and emerges from the


    smokestack. She pulls herself onto the rim's edge. She
    balances there as the anaconda struggles to writhe out of the
    narrow opening at her feet. ·
    She takes the rope and ties it securely to the top rung,
    _yanking it to test its str~gth. She tosses it over the edge,
    but can't see if it reaches the ground below~
    shooting script - oecember 1 99.

    141 EXT. SMO:KESTACI< 141

    ·~ The snake is trying to force his head through the narrow


    . ___ / opening, and the bricks are beginning to give way ••••
    142, IRCil!1ERA'l'OR - CONTIRUOUS 142
    Danny is trying, but the matches are damp and will not
    light. Panicked, he tries to strike one after the other, but
    there is no .fire •
    . 143 EXT. SMO:KESTACI< 143
    The anaconda is•thrashing in the throat of the smokestack,
    snapping at Terri and lashing its, stubby, bloody tongue.
    Terri los~s her balance and falls. She lands over the top of
    the smokesack ••• her torso suspended temptingly in front of
    the snake. The snake lunges at her and she throws her body
    ·over the edge.
    Terri is hanging by her fingers fran the rim, f.;fty ·feet
    above the ground. She tries to shimmy along toward the rungs
    and rope.
    144 INCINERATOR 144

    Danny is in stark desperation: He has one match left. Be


    blows on it, blows on. the edge of the matchbox. Be closes his·
    c:) eyes and strikes, the match.
    It lights.
    145 TERRI 145

    Terri has almost reached the rungs and rope, but the anaconda
    is literally breaking apart the smokestack bricks. The bricks·
    she's holding on to give way and Terri makes a mad lunge for
    the· rope. She starts to slide down it.
    146 .DANNY 146

    Carefully protecting the flame, Danny delicately.. places the


    match in the fuel. The fuel greedily ignites.
    147 TERRI 147 I

    Terri swings wildly fran the end of the rope.about twenty


    feet from the ground. Danny runs under her.
    DANNY
    It's gonna blow! Jwnp1

    (COR'l'IRUED)· i
    Shooting Script - December 1 100.
    147 CONTINUED: 147

    Terri lets go. She drops about· 20 feet into the bushes. Danny
    runs to her and helps her up. 'They both sprint towards the
    river as the fuel drums EXPLODE. '
    Flames roar up the smokestack like a rocket booster. The
    brick walls bulge and explode and both Danny and Terri-are
    sent flying from the force of the shock wave. Danny lands in
    the brush and Terri splashes into the river. ·
    1_48 ANGLE: 148

    Fire shoc;,ts out the top hundreds of _feet into :the air before
    the smokestack itself disintegrates in a hail of bricks.
    The entire four-story length of the anaconda manentarily
    suspends vertically in mid-air,.engulfed in fire.
    The burning anaconda falls to the ground, twisting in pain,
    · ten feet from· Danny. With great effort the' snake rears back,
    opens its mouth to the sky, ·and lets out a-deafening hiss of
    agony. Danny is frozen in terror as he watches the snake.
    exhale' flames like a dragon.
    ✓

    The anaconda· slides into the water, dousing the flame1S" and
    causing patches of oil to burn on the .water's surface.
    Terri stands trapped in the water as the anaconda appears to
    move straight towards her. The water swirls violently around
    0 ner ..• then stops.
    Terri holds her breath untii ••• the lifeless snake floats to
    the surface. Terri's legs are tangled in the dead snake. She
    pushes the snake away and runs to the shore.
    Danny runs to meet her and they embrace.
    DANNY

    'TERRI
    Maybe.
    DANNY,,
    Yeah. Me too.
    149 EXT. BOAT - DAY 149

    A makeshift raft is anchored alongside the boat.


    Danny smiles with relief as he pumps fuel from the drum into
    the barge's fuel tank.

    (CONTINUED) 'I
    shooting Script_ Deeember 1 101.
    149 CORTINUED: 149

    Terri sticks her head out of·the pilot house.


    DARBY
    She 1 s full.
    Terri cranks the starter and the engine rumbles to life.
    Danny caps the tank and climbs up to the pilot house as Terri
    moves the barge into the river's current.
    149A IRT. PILOT"HOUSE - CORTIRUOUS 149A ·

    -DARBY (CORTI D)
    I want a shower, some·food, and the first
    plane outta here.
    TERRI·
    We can stop for a snakeburger on the way.
    Danny shudders.
    . DARBY
    You think you•re funny don't you? .
    .,_

    Suddenly a flock of brightly colored parrots flies across the


    river and around the barge.
    CALE (O.S)
    Beautiful.
    0 Terri and Danny turn and see Cale leaning against the door.
    TERRI ·
    Steven!
    Danny grabs-a chair and they help-Cale sit down.
    CALE
    I was getting lonely.
    Terri .holds his hand·tenderly.
    DANBY
    Well we had, you know, sane business to
    take care of.
    CALE
    Where is everybody?
    TERRI
    Long story.

    .(CORTIRUED) i
    Shoot.in9 Script - oeoember 1 ·102.
    14 9A CONTINUED: · 149A

    DANNY
    Yeah .. We'll fill you .in on the way home.
    CALE
    I'm ready to go home.
    TERRI
    Me too ..
    Terri smiles at him. Ber expression changes as-she sees
    samething along the shore. ·
    TERRI
    Look!
    She points to the shore where shapes are emerging from the
    jungle. One is well~lit by the sun ••• definitely a member of
    the Shirishama tribe. Cale·• s face lights up as he witnesses
    samething he never thought he'd see. Danny instinctively
    reaches for his camera and starts to roll film.
    Terri reaches over and shuts the camera off. ·
    DANNY
    Beyl Whati
    TERRI
    Sarene.was right. We've got no business
    (~; being here. ~is is not our world.
    Cale waves to the tribe. The tribesmen smile and return the
    greeting as the barge drifts slowly past ••• the figures slowly
    blending back into the jungle.
    l'ADE 'l'O BLACK:
    THE END

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