剧本《古墓丽影》Tomb Raider(2001)
Tomb Raider (2001)
by Brent V. Friedman.
First Draft, 7/17/98.
More info about this movie on imdb.com
INT. BOARDING SCHOOL - LIBRARY - DAY
LARA CROFT (16), a headstrong, long-haired beauty, is surrounded at a
study table by her UNIFORMED CLASSMATES, one of which, DELIA, is the
group skeptic.
Chyron: London, 1986
LARA
First of all Delia, my father is
much younger than he looks. And
second of all, you're completely
missing the point.
A LIBRARIAN across the way shushes the girls, forcing Lara to lower
her voice to a dramatic whisper:
LARA (CONT'D)
Once my father got inside Ghengis
Khan's tomb, he thought he was home
free.
BACK TO:
INT. GHENGIS KHAN'S TOMB - DAY
Revealed in Lord Croft's FLASHLIGHT is Khan's decrepit MUMMY.
Clutching a crudely-fashioned CEREMONIAL DRUM.
LARA (V.O.)
But as soon as he took the sacred
drum from Khan's bony clutches...
Lord Croft admires his prize stolen from the mummy.
LARA (V.O.) (CONT'D)
He set off the worst trap of all.
Lord Croft reacts to a RUMBLING inside the tomb. The very floor
beneath him is buckling from some unseen force. Racing for the arched
doorway, Lord Croft stops when he sees:
POV - LORD CROFT
Sections of the antechamber's tile floor are falling away, dropping
down into an INFINITE ABYSS now exposed.
BACK TO SCENE
Lord Croft takes a deep breath. Picks out the only route imaginable
across the precarious checkerboard floor...and sprints for the entry
hole, drum cradled in his arms!
With each step the tile floor breaks away beneath him! Forcing Lord
Croft to snatch the drum in his teeth...and leap for the entry hole
with both hands!
LARA (V.O.) (CONT'D)
Then, just as the wall was giving
way...
Lord Croft claws desperately at the crumbling wall. Eyes widening with
rlief when a WIRE LADDER dangles into view.
LARA (V.O.) (CONT'D)
My mother came to the rescue again.
INT. HELICOPTER - DAY
LADY VIVIAN CROFT, a spirited 40-something woman who expertly helms
the family chopper. Lady Vivian stares down at the mountainside ENTRY
HOLE where Lord Croft is climbing to safety on the wire ladder
attached to the helicopter's underbelly.
LARA (V.O.)
There was still one problem. And it
was a big one: the Mongolian Army.
Lady Vivian notices DOZENS OF MONGOL SOLDIERS cresting the
mountaintop. Armed to the teeth. Sights on Lord Croft.
EXT. MOUNTAINSIDE - DAY
Hanging on with one hand to the wire ladder, Lord Croft uses his spare
hand to unload an endless UZI CLIP on the soldiers.
DELIA (V.O.)
I don't buy it for a minute.
INT. BOARDING SCHOOL - LIBRARY -DAY
All eyes are on Delia as she tries to debunk Lara's story.
DELIA
If that drum is so bloody valuable,
why'd your parents send it to you?
All eyes now turn back to Lara as she returns the volley:
LARA
Easy. If you were the Mongolian Army
wouldn't my dorm room be the last
place you'd look?
While Delia mulls that one, Lara spots a black BENTLEY ARNAGE arriving
in the parking lot outside. Her eyes suddenly beam.
LARA (CONT'D)
To be continued. I gotta go.
Lara races away without explanation.
INT. LARA'S BOARDING SCHOOL ROOM - DAY
PAN ACROSS a floor-to-ceiling bookcase filled with odd SOUVENIRS from
around the world, all lovingly displayed. As a woman's hand removes
one of the souvenirs we meet LADY VIVIAN CROFT in her formal, elegant,
real-world attire.
LADY VIVIAN
Look at this, Desmond. Every little
trinket we've sent back she's got on
display like the Crown Jewels.
LORD DESMOND CROFT is a stately business magnate but hardly a tomb
raider. Unlike his wife, Lord Croft is far more interested in the OLD
TRUNK across the room, overflowing with sports trophies, plus various
academic plaques and certificates. He examines a "1st Place"
GYMNASTICS TROPHY.
LORD CROFT
Viv, I don't think our little girl's
ever come in second.
Lara bolts inside, winded from her run across school.
LARA
I don't believe it...
Lord Croft gives Lara a short, polite embrace.
LARA (CONT'D)
I thought you two were off on
pressing business somewhere?
Lady Vivian holds onto her daughter a little longer.
LADY VIVIAN
Lara, you didn't really think we'd
miss your 16th birthday?
LARA
(plays dumb)
Oh, is that today?
Both her parents chuckle at Lara's wit.
LADY VIVIAN
We brought another souvenir to add
to your very impressive collection.
Lord Croft hands Lara a small, unwrapped BOX. Pulling off the lid,
Lara's face scrunches quizzically: a new passport.
LORD CROFT
Someday it'll be filled cover-to-
cover, just like ours.
He looks at Lady Vivian, who nods in agreement.
LADY VIVIAN
Well I think we should break it in,
don't you, Desmond?
LARA
(suspicious but hopeful)
What are you saying, Mother?
LORD CROFT
The provost has assured us you're so
far ahead in your studies that your
professors will actually welcome
your absence for a week. So they
can catch up to you.
LARA
A family trip!? Where're we going?
LORD CROFT
Anywhere in the world.
LADY VIVIAN
It's your choice, Lara.
What a tough decision for Lara, who thoughtfully peruses all the
exotic souvenirs her parents have sent her over the years.
LARA
Everywhere you've been...I've
dreamed of going.
Lara finally settles on the TIBETAN DRUM (from Lara's story), then
turns to her parents and smiles. Decision made.
CUT TO:
EXT. OVER THE HIMALAYAS - DAY
A sleek Gulfstream III -- emblazoned with "CROFT INDUSTRIES" -- soars
through the jagged, pristine white mountaintops.
Chyron: Over the Himalayas
LARA (V.O.)
I want to ski Mount Annapurna. No
one's ever skied there before.
LADY VIVIAN (V.O.)
Lara, do you even know how to ski?
LARA (V.O.)
That's the fun of it -- I'll learn.
INT. CROFT JET - CONTINUOUS
Lara sits on the floor (dressed in an almost tomboyish manner), her
back against a small sofa from where Lady Vivian enjoys braiding her
daughter's long, lustrous hair. They're more like sisters with their
similar mannerisms and matching DIAMOND TENNIS BRACELETS. Lara
charmingly rattles off historical facts to impress her parents.
LARA
Bet you didn't know Mount
Annapurna's actually a massif with
two primary peaks. Annapurna 1, the
tallest, wasn't climbed from the
south -- where we're going to ski --
until 1970 by the Chris Bonnington
expedition.
The jet's handsomely appointed interior has the feel of an English
sitting room that comfortably accommodates 8-10 passengers. Lord
Croft, who has to duck inside the cabin, pours himself a nip of brandy
at the wet bar.
LORD CROFT
Anything you don't know, Lara?
LARA
(teasing)
I suppose it's possible, Father.
Lord Croft smirks as he takes a seat across from his women.
LADY VIVIAN
Tell us about that drum I sent you
back from Tibet?
LARA
It's made from a human thigh bone.
And it's part of an exorcism ritual.
That's really all I know.
LADY VIVIAN
I attended the ritual once. Last
time we were here, while your father
was concluding a deal in Nepal.
This gets Lara's attention. And Lord Croft's.
LADY VIVIAN (CONT'D)
It was very moving. The ceremony
divests the dying person of all
their ego and emotions, preparing
them for the next life,
unencumbered.
LORD CROFT
I always miss the good stuff.
Lord Croft swigs the last of his brandy. Lara peers out the window at
the enigmatic mountains while confessing:
LARA
You want to know something funny...?
For years now I've told stories at
school about my parents being famous
tomb raiders -- that's how I
explained why you were always away
on business.
(turns back to parents)
My friends actually think all those
souvenirs you sent me, they're all
ancient treasures. Like that drum,
I've almost convinced them father
stole it from Ghengis Kahn's tomb.
Lord Croft gets a CHUCKLE over that one. But Lady Croft is not amused,
seeing beneath her daughter's imagination.
LADY VIVIAN
I know it's not been easy for you,
Lara, what with us abroad so often.
But from now on, we'll do better
than just holiday visits. How does a
family trip each month sound?
Lara looks to her father, who concedes his approval.
LARA
I can't wait for next month.
CUT TO:
EXT. CROFT JET - LATER
LIGHTNING strikes in the darkening distance. The Gulfstream jet
disappears into a swirling miasma of low, dark clouds.
INT. CROFT JET - CONTINUOUS
The aircraft begins to shudder and sway in the turbulence. Lara looks
anxiously to her parents as a SPEAKER in the cabin squawks to life,
one of the pilots addressing the Crofts:
PILOT (OVER SPEAKER)
Nothing to worry about, folks. Just
some temperamental weather. Strap
yourselves in tight and we'll be
through this in no time.
Lara glances nervously out her misted window at the storm, jumping as
LIGHTNING strikes the wing of the jet! The interior LIGHTS FLICKER.
The jet drops sudden altitude...then stabilizes. The Crofts all exhale
in momentary relief.
Lord Croft unbuckles his seatbelt and heads for the cockpit.
LADY VIVIAN
Desmond?
LORD CROFT
You girls stay put.
Lady Vivian clutches Lara's hand with her own.
INT. CROFT JET - COCKPIT - CONTINUOUS
The TWO PILOTS, struggling to hold onto the shaking controls,
acknowledge Lord Croft as he slips in through the partition.
LORD CROFT
Anything I can do?
PILOT #1
There's a portable radio in the
closet. Better get it out.
LORD CROFT
(steps closer)
What's wrong with those dials?
PILOT #2
We've lost primary power, Sir.
(beat)
She's going down.
His jaw slackening, Lord Croft stares out the windscreen...
LORD CROFT
Good God.
POV - LORD CROFT
Through a sudden break in the clouds appear two oncoming mountaintops.
An unavoidable obstacle.
EXT. CROFT JET - CONTINUOUS
The aircraft continues its inexorable course right between two craggy
peaks...SHEARING OFF THE ENTIRE LEFT WING!
INT. CROFT JET - CONTINUOUS
Chaos ensues as the jet begins a slow barrel roll, emptying overhead
bins and closets. Lady Vivian cradles Lara tightly to her bosom,
shielding her daughter as best she can before --
-- SMAAAAAAAAAAAAAAAAASH! The jet SLAMS into the ground with such
force the fuselage CRACKS in several places. A piece of the fuselage
strikes Lady Vivian in the head!
EXT. CROFT JET - CONTINUOUS
Plowing across the snowy terrain like a runaway train -- OBLITERATING
ALL TREES in its path -- the jet finally comes to precarious rest,
UPSIDE DOWN, bridging a deep chasm.
INT. CROFT JET - CONTINUOUS
CU - LARA hanging upside down in her seat. Unconscious.
CRAAAAAAAAAK!!! The already split fuselage breaks further under the
strain of its own weight.
This rouses Lara, who struggles to orient herself. Her eyes focus in
on her mother crumpled and bleeding. Lara unbuckles her safety belt
and falls to the inverted ceiling. Scrambling through the chaotic
cabin Lara desperately cradles her mother.
LARA
Mother. Mother please. Please be
okay.
Lady Vivian's eyes flicker with dying life. Lara rambles:
LARA (CONT'D)
I'm so sorry. I should've picked
someplace else. We never should've
come here. Never, ever...
Lady Vivian reaches a trembling hand up to Lara's face, gently wiping
away the tears streaking down her flushed cheeks.
LADY VIVIAN
Always follow your dreams, dear.
(last breath)
Always...
Lady Vivian expires in her daughter's arms and Lara's sobbing gives
way to an emotional torrent of tears until --
-- CRAAAAAAAAAK!!!
The fuselage breaks further, threatening to snap the jet right in
half. Jolted from her misery, Lara peers out the jet window with wide
eyes:
POV - LARA
It's a 1000 stomach-turning feet to the bottom of the chasm.
BACK TO SCENE
Lara hears the sounds of a man GROANING somewhere near.
LARA FATHER!?
INT. CROFT JET - COCKPIT - CONTINUOUS
Lara rushes into the upended cockpit where both pilots hang dead in
their seats -- the windscreen has been shattered. Lara sees her
father's feet, his body covered with a collapsed section of the
interior.
LARA
Father can you hear me!?
Lara frantically extricates her father, who is groaning in pain from
the COMPOUND FRACTURE of his left leg.
LORD CROFT
Vivian...where's my Vivian?
-- CRAAAAAAAAAK!!! The fuselage breaks further, increasing the incline
inside the doomed jet.
LARA
Come on, we've got to get you out!
Lara starts helping her father up towards the windscreen. Pushing him
through the jagged orifice, Lara watches her father topple safely onto
the snowy chasm bank. Lara starts out herself, then smartly realizes:
LARA (CONT'D)
Supplies. We need supplies.
Moving back to the closet, Lara starts gathering essentials (ie:
MEDKIT, SKIS, FLARE GUN, etc.) All the while the metal fuselage WHINES
under the tremendous strain...portending --
-- CRAAAAAAAAAK!!! This break causes Lara to fumble the flare gun.
Hanging on, she strains to reach the weapon...
LORD CROFT (O.S.)
LARA GET OUT!!!
Stretching that extra inch, Lara secures the flare gun.
EXT. HIMALAYAS - CONTINUOUS
All the supplies, flung through the windscreen, land in the snow
around Lord Croft, who's anxiously watching for...
LARA DIVES THROUGH THE WINDSCREEN as the jet snaps in half! She tucks
& rolls safely in the snow, showing off some well-honed gymnastics
moves. Together, Lara and Lord Croft watch in stunned silence as the
jet fuselage CRACKS once more and, with her dead mother aboard,
plummets into the chasm.
Lara steps right up to the dangerous edge, tragic witness to the jet
EXPLODING IN A FIREBALL when it hits rock bottom.
TIME CUT TO:
EXT. HIMALAYAS - AS NIGHT SETS IN
TRACK a long path through the snow to Lord Croft bundled up atop a
TOBOGGAN/LITTER fashioned from skis. Slowly pulling her father along
in the knee deep snow, Lara is battling hypothermia and fatigue as a
LIGHT SNOW falls.
LARA
(mutters repeatedly)
We'll be fine... We'll be fine.
Hauling her father up a slight grade, what's left of Lara's strength
is put to the test. As she feels herself reaching a breaking point,
Lara's "We'll be fine" mantra just gets louder -- she's running on
pure will power now. Finally, just as she crests the grade, about to
collapse, Lara spots a MONASTERY in the near distance below. Lara
almost smiles.
LARA (CONT'D)
We're gonna make it!
Her spirit refueled with hope, Lara gets a second wind. Pulling her
father along with hopeful urgency...until an ANIMAL GROWL in the
surrounding shadows stops her cold. Arming herself with a FLASHLIGHT,
Lara scans the area:
POV - LARA
The flashlight finds a BLOOD TRAIL leading from her father's leg to a
pair of SNOW LEOPARDS lurking amongst the trees.
BACK TO SCENE
Lara quickly FIRES A FLARE...which spirals into the trees, only
spooking the animals momentarily. As the leopards advance with hungry
eyes, Lara starts pulling her father as fast as her legs will carry
them to the monastery before...
A 20' PRECIPICE suddenly appears in her path! Nearly rushing blindly
off the edge, Lara and Lord Croft survey their options: predators
behind them, a dangerous jump ahead.
LARA (CONT'D)
Father...I don't know what to do.
LORD CROFT
Save yourself, Lara. Everything
we've worked for...your mother and
I. You're all we have left now.
Lara eyes the snow leopards moving slowly in for the kill.
LARA
I can't leave you like this!
LORD CROFT
I can't make it, Lara. You can.
(imploring)
You must.
Forced to act fast, Lara dumps all her supplies in a pile at her feet.
With focused, unblinking eyes she rapidly examines all her resources
before grabbing up two items...
CU - A FLARE is snapped in half. Keeping one eye on the snow leopards,
Lara cleverly spreads the flash powder into a semi-circle around her
father. And just as the snow leopards lope into swift attack --
-- WHOOOOOSH! Lara ignites the powder with a LIGHTER. The waist-high
WALL OF FIRE keeps the leopards at bay. For now.
LORD CROFT (CONT'D)
That's my girl.
Lara kneels beside her father, clutches his hand in hers.
LARA
I'll get help, Father. Before this
fire dies out, I swear to you.
Lord Croft watches as Lara moves away from the precipice, measuring
her steps all the way back to the fire wall. Exhaling slowly, Lara
gathers herself. Hands fall to her side; a gymnast before her routine.
Then, with quick, precision steps...Lara sprints for the edge and
leaps!
NEW ANGLE
Lara soars through the air with the grace of an eagle. But she lands
hard, somersaulting several times in the snow. Immediately she CRIES
OUT in pain, her knee badly injured.
Gritting her teeth, Lara glances back at the dwindling FLARE FIRE
protecting her father from the leopards...then starts crawling towards
the wooden monastery gates ahead.
INT. MONASTERY - NIGHT
Inside the ancient stone building a spry monk, KARAK (50), breaks his
reverent meditation at a small shrine. His wise eyes search the
candlelit shadows -- something is amiss. With uncertain purpose Karak
moves to the nearest window where he sees: Lara inching through the
snow. Ten feet from the monastery gates before finally succumbing to
exhaustion.
EXT. HIMALAYAS - MOMENTS LATER
A GROUP OF MONKS, led by Karak, circles around to the precipice from a
hidden, sloping ridge. The monks BANG POTS & KETTLES, successfully
scaring away the snow leopards.
Karak is the first to arrive at Lord Croft's side. He bends over the
motionless man, listens for a heartbeat. After a moment, Karak slowly
raises his head. His eyes tell the sad story as the flare fire quietly
dies out.
DISSOLVE TO:
PRELAP the sound of drums, trumpets and bells.
EXT. MONASTARY COURTYARD - NEXT DAY
The storm has cleared. A Tibetan funeral ceremony in progress. Lord
Croft's body is swathed in a white robe atop an altar.
A handful of monks circle the dead man, performing the exorcism ritual
Lady Vivian described earlier.
REVEAL - LARA watching the ceremony from a distance, off by herself.
As one of the monks fervently bangs his drum -- a replica of her
parents' souvenir -- over her father's head, Lara turns away, unable
to endure the tragic irony.
INT. MONASTERY - DAY
With views of both Lara and the ceremony, Karak turns away from the
window, faces an older monk at his side, TONPA.
KARAK
I cannot explain it, Tonpa, but I
feel my path is being re-directed.
TONPA
Your dreams.
KARAK
Yes... This girl's spirit is
precious but fragile. She needs
guidance to fulfill her potential.
TONPA
Go with her, Karak. And fulfill your
own potential.
Karak nods respectfully and heads for the courtyard.
EXT. MONASTERY COURTYARD - CONTINUOUS
Lara limps along the monastery wall as the ceremony continues. She
stops, her back to us, and stares down the sheer cliff into the fog-
enshrouded valley below. CIRCLING AROUND Lara we reveal her face, her
eyes -- nearly catatonic with grief. Melancholy classical MUSIC swells
over the fading drums. As we PULL BACK, Lara inexplicably swan dives
forward...
...and splashes into an Olympic-sized indoor pool!
TRANSITION TO:
INT. THE CROFT ESTATE - YEARS LATER
LARA (29), collects DIVING BELLS as part of a training regimen
supervised by Karak, now mid-60s.
Chyron: Hampshire, 1998
When Lara finally breaks the surface with the last diving bell, Karak
clicks his stopwatch, eyebrows raised, impressed.
KARAK
Two seconds better than last week.
But you're pushing yourself too hard
again.
LARA
Still breathing, aren't I?
Lara gracefully climbs from the pool, showing off a beautifully
sculpted physique...frustratingly wrapped in a towel. This is no
longer the lonely, precocious girl we met 13 years ago; Lara has grown
into a cool, physical young woman hiding a scarred heart that has
never fully mended.
Karak follows Lara inside the sparsely decorated grand manor, stopping
at a STEREO setup surrounded by small mountains of CDs. Karak switches
the somber CLASSICAL MUSIC to HIP HOP.
KARAK
You need a vacation. Change of pace.
I've taken the liberty of providing
a few options...
He catches up to Lara, hands her some CLUB MED BROCHURES.
KARAK (CONT'D)
I've already spoken with Ruth and
Caroline. They're very excited at
the prospect.
LARA
(not in the mood)
I don't need another girl getaway. I
just get so restless between jobs.
You know that, Karak.
Karak steps in front of Lara, indicates her WOUNDED ARM.
KARAK
Lara, you still haven't healed from
your last "job." Which was less than
three months ago.
LARA
(sighs)
Seems like three years.
KARAK
You want to live on the edge, how
about a nice trip to Los Angeles?
Lara smirks, but makes no commitment as she strides away.
CUT TO:
EXT. CARIBBEAN OCEAN - DAY
A SALVAGE BOAT floats atop the choppy waters off the coast of a
distant island.
Chyron: Caribbean Ocean, near Barbados
A gray-haired Scot, DARBY ERICKSON (70), anxiously adjusts the oxygen
tanks on his-Venezuelan diver, ARTURO (35).
DARBY
Remember Arturo, the chest may be
decayed. Go eyes open for the
hardware.
Darby shows a PHOTO of a wooden chest with GOLD ORNAMENTS.
DARBY (CONT'D)
The map tube will be somewhere in
the vicinity, if I've calculated
right.
Arturo nods, pulls on his face mask. Darby pats him on the shoulders,
then watches him roll backwards off the boat.
UNDERWATER
FOLLOW Arturo down 30 meters through the teeming waters to the
remnants of an ancient SHIPWRECK scattered over the coral floor. As
Arturo skims the rotting wreckage...
A GIANT MORAY EEL lunges from a crevice flashing razor teeth! Arturo
contorts his body to avoid the attack...then continues on until he
spots a GLINT OF GOLD entrenched in the coral. Upon closer inspection
it's one of the GOLD ORNAMENTS.
Arturo uses a PORTABLE JETPULSE to unsettle tne ocean floor. As the
silt begins to settle, Arturo finally locates a large, sealed GOLD MAP
TUBE half-submerged in the sand.
INT. SALVAGE BOAT DAY
CU - A MAP is delicately unrolled by rubber-gloved hands.
DARBY (O.S.)
Exquisite. Perfectly preserved.
REVEAL - DARBY & ARTURO huddled inside the tiny cabin, examining a
centuries-old Spanish map atop a work table where the empty GOLD MAP
TUBE now rests.
The area charted is a crude representation of South and Central
America. Darby excitedly follows with one finger a MARKED TRAIL inland
from the coast to the Andes Mountains.
DARBY (CONT'D)
There it is... El Dorado.
ARTURO
Very dangerous terrain, Sir.
DARBY
Don't worry, Arturo. This old bloke
is smart enough to know his
limitations.
(slowly rolls up map)
I know exactly who to call.
EVELYN (PRELAP)
Lara!?
INT. CROFT ESTATE - DAY
Arriving amidst a cacophony of BARKING DOGS is Lara's unmarried
maternal Aunt, EVELYN CROFT (60), a grand dame of the London social
scene who doesn't bother knocking. Evelyn saunters into the expansive
living room, which is filled with state-of-the-art GYMNASTICS &
TRAINING EQUIPMENT.
EVELYN
Lara, where are you!?
LARA (O.S.)
Coming, Aunt Ev!
Lara, dressed in workout gear, is in the middle of an exercise on the
UNEVEN BARS. Her perfect dismount is a BACKFLIP/HALF-TWIST...landing a
foot in front of a startled Evelyn.
EVELYN
Oh good God! Don't do that.
LARA
I assume this isn't a social visit.
You're not wearing your fur.
Evelyn ignores Lara, focusing instead on all the equipment.
EVELYN
I will never get used to this
rubbish.
(melodramatic sigh)
Oh, the parties your mother used to
throw in here...black ties, gorgeous
gowns...such a travesty.
Heard it all before, Lara heads for the kitchen.
EVELYN (CONT'D)
Where are you going, Lara? This
isn't a social visit, you know.
INT. CROFT ESTATE - KITCHEN - CONTINUOUS
While Lara makes her favorite EGG SALAD AND PICKLES sandwich, Evelyn
nosily inspects every kitchen cabinet and cupboard.
EVELYN
Granted, I am no longer your legal
guardian. But I am still the only
real family you've got.
Her back to Evelyn, Lara mouths her aunt's words in perfect lip sync
along with her. Clearly this is not a new speech.
EVELYN (CONT'D)
I said nothing when you returned
from Tibet with a strange monk...
And I bit my tongue when you turned
that living room into a gymnasium.
But your continual resistance to
take responsibility of the family
affairs is becoming unacceptable.
There is an absolute mountain of
paperwork to be signed -- you know I
never wanted this job. It was only
out of respect for my dear
brother --
Lara finally turns to interrupt her aunt's rant:
LARA
I'm sorry, Aunt Ev. I promise to
catch up by your party next week.
EVELYN
Good then. That's a start.
Evelyn helps herself to the other half of Lara's sandwich.
EVELYN (CONT'D)
You seem awfully pallid, child. I
hope this is not your regular diet.
FOLLOW Lara as she rolls her eyes, walking away from it all.
EVELYN (O.S.) (CONT'D)
I know! How about a nice vacation?
Club Med, perhaps?
INT. CROFT ESTATE - LARA'S BEDROOM - THAT NIGHT
Clothes and books everywhere. PHOTOS of her and friends -- male and
female -- at various events (Charity Ball, Wimbledon, etc.) Lara sits
in the lotus position atop her bed cluttered with Club Med brochures.
She's watching "The African Queen" on TV while chatting on the phone
with some unseen lover.
LARA
...I'm not giving you the duck
again, Charles. I'm just not in the
mood for clubbing tonight.
(pause; smirks)
Let me remind you, I am a proper
British girl. My ears are not
suitable for such gutterspeak.
(beat; teasing)
Maybe I'll call you tomorrow.
Lara hangs up. Unable to satiate her restless mind, Lara wanders to
the bookshelf full of all those souvenirs from her parents' travels.
When Lara picks up the TIBETAN EXORCISM DRUM, we see that beneath the
tough exterior she has fashioned for herself lies the vulnerability of
a teen girl. But her reverie is broken by her BARKING GUARD DOGS
outside!
INT. CROFT ESTATE - SECURITY ROOM - MOMENTS LATER
Karak watches one of many MONITORS which display constantly changing
images from surveillance cameras around the estate. A London TAXICAB,
idling by the front gates, currently has Karak's undivided attention
as Lara enters, concerned.
KARAK
We have a visitor.
EXT. CROFT ESTATE - MOMENTS LATER
The cab has vanished. Lara and Karak find ARTURO lying on the road
outside the front gate of the estate. Pulling the man's coat open,
Lara reveals his nasty ABDOMINAL WOUND.
KARAK
I'll call an ambulance.
As Karak hurries away, Arturo hands Lara a Hi-8 VIDEO.
ARTURO
This...only for...Lara.
INT. CROFT ESTATE - MEDIA ROOM - LATER
As Lara cues up the Hi-8 video in her top-of-the-line screening room,
Karak enters with dour news:
KARAK
The paramedics removed the body.
This draws an exhale of remorse from Lara.
KARAK (CONT'D)
I convinced the authorities to wait
until tomorrow for your deposition.
LARA
Hopefully this'll have some answers.
Lara starts the tape which plays out on a projection screen. Static
turns to a wide tripod shot of DARBY ERIKSON.
LARA (CONT'D)
Darby...
Clutching the empty, GOLD MAP TUBE, Darby paces a dimly lit bungalow,
speaking to the camera nervously.
DARBY (ON TAPE)
Please forgive the melodrama, my
dear, but I'm certain the phone
lines here aren't safe. You've heard
of El Dorado, the lost city of gold?
Well, believe it or not, I actually
found a map to the place. And it
is authentic.
Darby points to the MAP, unfurled atop the nearby desk and illuminated
by a SPECIAL INFRARED LAMP.
DARBY (ON TAPE) (CONT'D)
How'd I pull off this miracle, you
ask? Using an 18th century weather
chart I calculated a hurricane off
Barbados about the same time a
spanish galleon -- the San Roque --
turned up missing in 1784.
(deep breath)
That's the good news. Bad news is,
turns out the Aussie bloke who hired
me is a second cousin to the Devil
himself. I told him I couldn't find
the map but he didn't buy it for a
minute. And it's only a matter of
time before he tracks me down. Which
is where you come in, my dear.
Darby steps closer to the camera, desperation in his voice.
DARBY (CONT'D)
Now I know you're a cash up front
girl, but if all the legends about
El Dorado are true, I'm offering you
a 50-50 split on what could be
billions in gold. I should think
that'll do your charity Foundation
right proud.
Arturo, at the far window, reacts to oncoming HEADLIGHTS.
ARTURO
Someone's coming.
Darby acts quickly, returning the map to its gold tube.
DARBY
Lara, I can't do this without you.
If you're game, meet me on the 7th
in Curacao. I'll be at the El Mar
under the name Flannigan.
The sound of MEN APPROACHING cause Darby and Arturo to urgently
discuss evacuation plans in hushed tones. LOUD POUNDING on the door
brings a warning:
LARSEN (O.S.)
OPEN UP! WE KNOW YOU'RE IN THERE!
REACTION SHOTS: Lara and Karak are on the edge of their seats.
While Darby climbs out a side window, Arturo shoves the heavy DRESSER
against the door but --
-- KABLAAAAAMBLAAAMBLAAAMBLAAM!!! The door and dresser splinter in a
hail of SHOTGUN BLASTS. Arturo goes spinning to the floor, wounded.
What's left of the dresser and door are pushed aside as SIX AUSSIES
hefting 12 GAUGE PUMP-ACTION SHOTGUNS enter the room. Muscular, bald
LARSEN, the most malevolent of the Aussies, informs his unseen boss:
LARSEN (CONT'D)
The geezer got away...
A seventh man enters last. This is CHRISTIAN MALVERN (40s), a
formidable, lantern-jawed Australian businessman. He calmly strolls
through the debris over to the OPEN SIDE WINDOW.
LARSEN (CONT'D)
Left his little troll behind,
though.
Malvern turns his attention on Arturo, who is writhing on the floor in
pain; a jagged WOOD SHARD has impaled itself deep in his abdomen.
Malvern looms over Arturo, cruelly stepping down on the shard with his
boot.
REACTION SHOTS: Karak looks away in disgust; Lara stares on in anger,
clutching the TV remote like a weapon.
MALVERN
Tell me where I can find Erikson.
Arturo grits his teeth in agony as Malvern twists the shard.
ARTURO
(hisses defiantly)
El Dorado.
Malvern crouches by Arturo.
MALVERN
Here's why I won't kill you.
Everything I do has a purpose, and
whether you live or die means
absolutely nothing to me.
(stands)
I'm not above suffering, however. In
fact, I'm a big fan of it.
SIRENS are heard approaching in the distance.
LARSEN
Bastard must've called the cops!
With his boot, Malvern pushes the shard all the way into Arturo, who
WAILS in pain. As Malvern strides for the door:
MALVERN
Get your men out of here, Larsen.
Larsen is the last one out of the room. He finally spots the Hi-8
camera in the corner and fires his shotgun -- KABLAM! The video cuts
to ominous static. Lara stops the tape, stands.
KARAK
May I offer my opinion?
LARA
I already know your opinion, Karak.
INT. CROFT ESTATE - CONTINUOUS
Karak insistently follows Lara out into the living room.
KARAK
So many of your jobs become
dangerous along the way. This one, I
must say, looks doomed from the very
start.
Taking an impassioned stand, Lara turns to face Karak.
LARA
Darby Erikson is one of the best
cartographers in the world. If it
weren't for him I never would have
found the Scion or the Dagger of
Xi'an. Now it's my turn to help him.
KARAK
Help him evade the Australian, or
help him find El Dorado?
LARA
Why both, of course.
KARAK
You travel to the ends of the earth.
You risk your life at every turn.
What is it you're looking for, Lara?
LARA
When I find it, I'll let you know.
As Lara heads upstairs, Karak mutters to himself:
KARAK
Hardly the vacation I had in mind.
CUT TO:
POV - UNKNOWN (THROUGH TELESCOPE)
Lara, dressed in a sun dress and combat boots, rides her vintage
Norton motorcycle and passes an engraved stone sign, "CAMBRIDGE
UNIVERSITY." WE HEAR male voices:
VOICE #1 (O.S.)
Oh Christ, I don't think she's
wearing a bra --
VOICE #2
-- Give me that!
VOICE #1
Get lost, you wanker!
PULL BACK to reveal we are:
INT. CAMBRIDGE LABORATORY - NEXT DAY
Three engineering eggheads (STUART, LIAM & WESLEY) grapple over rights
to the TELESCOPE, currently controlled by Stuart.
STUART
Knock it off! She's coming in!
All three young men scramble away from the window. While Stuart
stashes the telescope, Liam checks his hair in a mirror and Wesley
quickly gargles in the sink.
There's a KNOCK at the lab door, then Lara enters smiling...
LARA
How're my Gadget Boys doing?
POV - LARA
Her "Gadget Boys" are now seated quietly at work stations, engineering
devices per Lara's faxed DESIGN SKETCHES. They AD LIB "Hellos."
LARA (CONT'D)
Sorry I'm late. Had to give a
deposition...
Lara strides over to Stuart, her attention already grabbed by the
circular steel PROBE he's still wiring.
LARA (CONT'D)
Just as I imagined it.
Stuart turns one last screw, then picks up a REMOTE CONTROL DEVICE,
which when activated...levitates the probe!
STUART
Didn't have time to build it exactly
to your specs. But I think you'll
like it.
With Stuart controlling the probe's micro airjets, it zips across the
lab...almost taking the heads off Liam and Wesley!
STUART (CONT'D)
(mischievous)
Oops. Sorry lads.
Impressed, Lara now eyes the MONITOR on Stuart's work station.
POV - LARA
The image on the monitor is a LIVE SHOT from the remote probe as it
flies through the air...finally hovering right behind Lara...then
ZOOMING IN for a tight shot on her backside.
LARA (O.S.)
Very clever, Stuart.
BACK TO SCENE
Liam confidently gestures Lara over to his work station.
LIAM
Mine's even better, Lara. Come see.
He shows off a thin, lightweight chrome AIR TANK with nozzle.
LIAM (CONT'D)
80 ccs of emergency oxygen, just
like you wanted. But, when you hit
this little button here...
A SIX FOOT FLAME SHOOTS FROM THE TANK! Nearly incinerating Stuart, who
jumps back in shock.
LIAM (CONT'D)
Whoops. Stronger than I thought.
Lara pats Liam playfully on the head.
LARA
Such a little firebug, aren't we?
(beat)
And what about you, Wesley? How did
you get on with my shopping list?
Wesley smiles shyly at his work station where we see a spread of
CUSTOM AMMO. He breath-polishes what resembles a thick SILENCER
ATTACHMENT, then screws it onto a retro-fitted GUN.
WESLEY
Multi-tasking compression assembly.
Accommodates custom pitons, flares,
harpoons and tranquilizer darts.
Wesley loads one of the tranq darts into the assembly.
WESLEY (CONT'D)
I know how fond you are of animals.
Suddenly spinning like James Bond, Wesley levels his gun on Stuart and
Liam who both duck below their work stations.
WESLEY (CONT'D)
(smiles impishly)
Psyche.
LARA
Excellent job. All of you. You
flatter me with your brilliance.
She lays an ENVELOPE stuffed with pound notes on the table.
LARA (CONT'D)
Hope this covers your tuition here
for another semester.
STUART
Beats the hell outta Work Study.
As Lara collects her new gadgets into a leather SADDLEPACK:
LIAM
So Lara, what're you gonna do with
all this stuff?
LARA
Love to stay and chat, guys, but
I've got to catch an early flight
tomorrow.
Having what she wants, Lara starts for the door...but notices the
forlorn faces of her Boys, who can't get enough of her.
LARA (CONT'D)
Alright, tell you what. Soon as I
get back we'll all go out for a
pint. Any place you want. Deal?
The boys all nod enthusiastically. And as soon as Lara exits the lab,
Stuart rushes back to his hiding place and grabs the telescope; within
seconds, the three Gadget Boys are all squabbling again for control.
TIME CUT TO:
EXT. CROFT ESTATE - NIGHT
Lara cruises through the open estate gates on her motorcycle. But
halfway up the cobblestone driveway, Lara slows her motorcycle -- all
the lights are out in the grand manor!
Killing the cycle engine, Lara cautiously dismounts.
LARA
Karak!?
The sound of the GATES CLOSING behind her spins Lara around. Sensing
she's about to be trapped, Lara runs for the gates, reaching them just
as they close. Suddenly feeling vulnerable, Lara rushes back for her
cycle to arm herself...only to find her saddlebag of gadgets has
disappeared!
A GUNSHOT bursts the front tire of her motorcycle! Lara ducks for
cover behind the bike, but a bright FLASHLIGHT exposes her.
Instinctively, Lara sprints in the opposite direction, away from the
light...
A blistering volley of GUNSHOTS kick up grass and dirt all around
Lara, funneling her towards the elaborate HEDGEROWS which border the
north side of the estate. Suddenly --
-- A LARGE STATUE tips over near the hedgerow entrance! Lara dives
sideways, SOMERSAULTING to safety...or so she thinks --
-- ANOTHER STATUE is nearly upon her from the other side, forcing Lara
to BACKFLIP out of the way. She steals a breath, only to see the
Statue's face EXPLODE from gunfire! Off she goes like a bullet
herself...
INSIDE THE HEDGEROWS
Lara creeps along the gravel pathway, lit only by small FOOTLAMPS. All
around her in the labyrinth she can hear FOOTSTEPS of unknown
assassins somewhere amidst the 10' hedge walls. Lara creeps quietly,
her eyes unblinking while maintaining a nearly imperceptible breathing
rhythm --
-- SHTOOOOSH! A long wooden SPEAR juts through the hedgerow nearly
impaling her. Lara jumps back...only to have a second spear block her
path! Turning to run, Lara reacts in mid-stride to yet another spear
in front of her: she dives to the ground...ROLLING HER BODY lengthwise
beneath six more jutting SPEARS...until she hits the end of the
pathway.
When the next spear jabs from the hedgerow, Lara is ready: she grasps
it quickly with both hands -- surprising her unseen attacker -- and
yanks the spear from him!
Seeing an ASSASSIN approaching her with flashlight, Lara gets a
running start down the connecting pathway...and uses the spear to
VAULT HERSELF atop the hedgerow!
ATOP THE BORDER WALL
Leaping from the hedgerow up onto the 15' border wall, Lara -- armed
with the wooden spear -- now stands atop the stone border wall
surrounding the property's perimeter.
An ASSASSIN (with a FLASHLIGHT) comes at her from one direction atop
the border wall...forcing Lara to sprint the other direction. Until
another ASSASSIN up ahead on the border wall blocks her path. Trapped
again.
As GUNSHOTS ring out Lara examines her options: It's a 15 foot jump
down to the ground, where a ROSE GARDEN will make for a very painful
landing. With the Assassins closing in fast from both directions what
will Lara do?
CUT TO:
INT. CROFT ESTATE - SECURITY ROOM - CONTINUOUS
On one of the monitors we watch Lara snapping off a short end of the
spear over her knee, then jumping towards a nearby POWER LINE and
snagging it with the spear bit...riding the incline like a zip-line
safely down to her backyard!
REVEAL - KARAK watching the proceedings, sipping a cup of tea.
KARAK
Impressive.
Curiously, Karak finishes his tea and leaves the room.
EXT. CROFT ESTATE - BACKYARD - CONTINUOUS
Lara tries each of the rear doors. All locked. About to bust one of
the windows in with a patio chair, Lara's distracted by a FLASHLIGHT
shone in her eyes from inside the house. Then, an ominous WHOOOOSHING
sound overhead...
POV - LARA
A LARGE SATELLITE DISH falling from the manor roof! Hurtling right at
Lara...
BACK TO SCENE
Lara dives out of the way, then watches incredulously as the satellite
dish -- still attached to the roof by its THICK CABLE -- pendulums
right at her. Just as Lara drops to her knees, FLASHLIGHTS from both
sides of the backyard converge on her...
Unless she can get back up onto the border wall, Lara is seemingly
trapped once again. But as the satellite dish swings back at her, Lara
gets an idea:
Timing her jump perfectly, Lara hops onto the swinging satellite dish.
And as FOUR ASSASSINS close in below her, Lara uses the thick cable to
expertly SCALE the side of the three story manor.
ON THE ROOFTOP
Lara relaxes for a moment, catching her breath...then shocked to see
still another ASSASSIN emerging from one of the attic windows.
Avoiding the glare of his FLASHLIGHT, Lara runs to the edge of the
roof. Decision time. She can either jump for the GUEST QUARTERS roof
about 20' below her; or, she can take her chances with the assassin
advancing behind her.
Taking a deep breath, Lara measures her steps back from the roof edge.
Then, gathering herself gymnast style (as she did so many years ago in
the Himalayas), Lara runs full steam for the edge...
...but bails out at the last second! Sliding to a stop on the loose
shingles...and slipping off the edge!
As Lara dangles precariously from the rickety rain gutter:
POV - LARA
She peers DOWN at the dangerous drop below, then UP at the masked
ASSASSIN staring at her from the roof's edge.
LARA
(defiant)
I don't have the map! And I'll die
before I sell out Darby!
ASSASSIN
How very noble.
The Assassin removes his black face mask...revealing KARAK!
KARAK
Let me give you a hand.
BACK TO SCENE
As the rain gutter starts to give way, Lara quickly grabs onto Karak's
hand for help back up onto the rooftop.
LARA
(brushing herself off)
I should've known this was just
another one of your masochistic
tests.
KARAK
High marks, I must say, until you
pulled back from this last jump.
Lara looks away, ashamed.
KARAK (CONT'D)
Your knee is fine, Lara. It's your
memories that still hold you back.
LARA
(defensive)
And what if I'd tried the jump? And
what if I didn't make it?
Karak WHISTLES with two fingers to his lips. Within seconds, all the
outdoor FLOOD LIGHTS pop on around the property, revealing: a large
AIR MAT between the main house and guest quarters painted roughly to
blend in with the grounds.
KARAK
Believe me, every precaution was
taken. The gardening staff deserves
a round of applause.
Lara stares down in amazement as the six member GARDENING STAFF all
wave up at her, dressed in their black assassin jumpsuits. The lights
have also exposed the WIRES and PULLEYS secretly rigging Karak's
elaborate obstacle course: the two statues are being raised back into
place on guidewires; the bullet holes were all just a network of wired
SQUIBS.
KARAK (CONT'D)
Hopefully this gave you a preview of
what dangers to expect in the Inca
tombs you're determined to explore.
LARA
(softening a little...)
Could've done better if you hadn't
snatched my saddlebag.
KARAK
Your gadgets are only that: gadgets.
When your life is on the line, Lara,
you'll have to rely on your mind and
body, not some contraption built by
a smitten engineering student.
In no mood for lectures, Lara starts for the attic window.
KARAK (CONT'D)
This house has become nothing more
than a waystation for you, Lara. I'm
hoping someday you will realize your
dreams here. Where it's safe.
(beat)
Relatively speaking.
Lara finally turns back to Karak, an admission of his wisdom:
LARA
What would I do without you, Karak?
Karak walks up to her, looks right into her eyes.
KARAK
I shudder to think.
A smile warms Lara's face as she pulls Karak into a tight embrace,
bringing a smile to his face as well -- clearly this man lives for
these infrequent moments.
DISSOLVE TO:
EXT. HATO INTERNATIONAL AIRPORT - CURACAO - DAY
A LEAR JET touches down and taxis to a stop on the runway. Lara is in
the pilot seat sporting her signature MIRROR SHADES.
INT. EL MAR HOTEL - DAY
Lara enters the modest, nautical themed lobby. Behind the front desk
is the quaint Marina. Lara moves to the front desk inquiring about
"Mr. Flannigan." Given instructions, Lara heads upstairs...
REVEAL - A BELLBOY overhearing this conversation. Walking across the
lobby, he picks up a phone and dials a number he has scribbled down on
scrap paper.
BELLBOY
Hello, Mr. Malvern. You asked me to
call and, well... Flannigan's got a
lady friend.
(beat)
I'll let you know.
INT. EL MAR HOTEL - CORRIDOR - DAY
Lara reaches Darby's room and finds a "Do Not Disturb" sign hanging on
the doorknob. She knocks gently.
LARA
Darby, it's Lara.
No response. But she can hear the TELEVISION on inside. Lara checks
the door and finds it surprisingly unlocked. Checking both ways first,
Lara draws a GUN and pushes the door open. No ambush waiting, so she
slips inside...
INT. EL MAR HOTEL - DARBY'S ROOM - CONTINUOUS
The lights are out but the TV is on, tuned into a Spanish dubbed
episode of "MacGuyver."
Lara flicks the light switch, turning on a DESK LAMP near the bed. The
room has been completely ransacked. But that is not what takes Lara's
breath away...
REVEAL - DARBY sitting up on his bed, shot at close range. Frightened
eyes wide open, staring off into the void.
After a moment to digest this nasty sight, Lara takes a seat on the
edge of the bed. She grasps Darby's hand, feeling his body
temperature.
LARA
Don't worry, Darby. I'll see this
one through for you.
Lara tenderly closes the man's eyes.
LARA (CONT'D)
Say hello to my parents for me.
Rising, Lara begins poking around the remains of the room. Clothes,
books, charts...but nothing that resembles the map of El Dorado.
During her search Lara hears a HISSING sound.
Quickly scanning the room, she notices something unsettling:
CU - A PLASTIQUE CKARGE attached to the same electrical socket the
lamp is plugged into -- the fuse apparently activated when she turned
on the light! A fuse seconds from detonation.
NEW ANGLE
KABOOOOOOOM! As a car blows up on "MacGuyver," Lara sprints past the
TV to the balcony overlooking the marina and leaps...
...just as Darby's hotel room EXPLODES!!!
EXT. EL MAR HOTEL - MARINA - CONTINUOUS
Lara just clears some docking and splashes down in the marina. When
she bobs back up to the surface behind a boat, a crowd of GAWKERS is
already forming outside the hotel. Including the Bell Boy, who watches
briefly from a balcony off the main lobby, then disappears back
inside.
EXT. MARINA - LATER THAT NIGHT
Standing in a new change of clothes at a payphone on the pier, Lara
watches from a distance as local POLICE and FIREMEN sift through the
remains of the blown-out hotel room.
POV - LARA
The authorities have so far only recovered CHARRED BONES, being loaded
into a CORONER'S TRUCK in plastic bags.
KARAK (PHONE)
Croft Residence.
BACK TO SCENE
Turning away from the ugliness, Lara reacts to Karak's voice on the
other end with a relieved sigh.
LARA
Well Karak, I hate to say you told
me so but...I didn't want you to
worry when you saw the news about
the explosion at the El Mar.
INTERCUT WITH:
INT. CROFT ESTATE - MEDIA ROOM - DAY
Karak is seated in the dark room watching CNN on the big screen TV.
Utilizing PICTURE-IN-PICTURE mode he's also simultaneously watching
four other local and international news services via satellite. Karak
quickli mutes the TV.
KARAK
(feigns indignation)
I never watch television.
Lara rolls her eyes knowingly.
LARA
Right... Anyway, whoever murdered
Darby and took his map probably
thinks they killed two birds with
one stone. But it's going to take
the authorities down here a while to
sort out the mess. Which buys me
some time to catch up with the
bastards.
Lara reacts to the WARNING WHISTLE from a nearby FERRY BOAT.
LARA (CONT'D)
Gotta go. I'm taking a ferry to the
mainland. I'll ring you later.
KARAK (PHONE)
May I offer my opinion?
LARA
Go ahead. I'm listening.
But Lara lets the payphone receiver dangle off the hook. Grabbing up
her BACKPACK, Lara rushes to catch her ferry.
HOLD ON the receiver as we hear Karak expressing his paternal point of
view.
CUT TO:
A BELL BOEING 609 PROP PLANE descending vertically from the sky like a
helicopter. The roar of its twin tilt-rotors kicking up a massive DUST
STORM. We are:
EXT. FRANCISCO DE ORELLANA, PERU - DAY
A small village situated in the tropical low jungle of the Amazon
Basin and surrounded by a dense forest of cedar, rubber and cinchona
trees. Like San Francisco during the gold rush, this is a place of
dangerous desperation; the scant populace waiting for the next
opportunity to scam a naive explorer in search of the fabled golden
city, El Dorado.
Chyron: Francisco de Orellana, Peru
Malvern's well-armed battalion of six Aussies exits the Boeing 609.
Last one off is Malvern himself, now dressed for safari. He carries
Darby's GOLD MAP TUBE like a weapon.
Malvern surveys the one street town of SUPPLY SHOPS and CANTINAS --
all the locals are staring at his expedition with cautious but hopeful
eyes.
MALVERN
(to Larsen)
Buy up all the supplies in town. If
we don't need it, burn it.
Larsen flicks his GOLD LIGHTER with a flourish.
LARSEN
With pleasure.
POV - UNKNOWN
Looking through a dirty window someone watches Larsen light Malvern's
cigarette as his goons blanket the town. We hear a RADIO BROADCAST of
a San Francisco Giants baseball game.
REVERSE ANGLE
A dilapidated, Spanish-style stucco shanty with a ramshackle porch.
Peeling painted letters across the window announce: "JUNGLE GUIDE -
Boat or Plane, Good English, Cash Only."
INT. DODGE'S OFFICE - DAY
Meet NATHANIEL DODGE (39), a rugged, world-weary American ex-patriot
working out of his cubby hole office on the main street. Kicked back
in his chair, feet on the cargo crate he calls a desk, Dodge sharpens
a MACHETE while he watches Malvern approaching. When the baseball
broadcast gives way to static, Dodge bangs his old HAMM RADIO with the
knife.
DODGE
(sotto; re: Malvern)
Here comes a new radio.
The radio reception goes all to hell when Malvern pushes open the
rickety screen door and just stands there, amusedly absorbing Dodge's
spartan existence.
MALVERN
Well mate, since you're the only
guide who speaks English, I'd say
it's your lucky day.
(beat; extends hand)
Christian Malvern.
Dodge leans forward, shakes Malvern's powerful, weathered hand.
DODGE
Nate Dodge. How lucky we talking?
MALVERN
Locals say the winds up near Lake
Guaranita this time of year could
snap the rotors off my birdie.
DODGE
Wouldn't know. Never been crazy
enough to take one up there.
Malvern pulls out a wad of CASH and tosses it in Dodge's lap.
MALVERN
Ten grand sound crazy enough?
Dodge can't resist holding the money, fanning through the seductive
stack of US dollars.
DODGE
Damn... Hate to ask how much you
paid for your map?
MALVERN
(scrutinizing)
And what map might that be?
DODGE
Anybody who comes here with their
own militia, they've definitely got
a map to El Dorado.
Malvern smiles: a deadly sign for him.
MALVERN
(re: gold map tube)
Believe me, Mr. Dodge, this map came
real cheap: cost of a bullet.
DODGE
So that's the going price now, huh?
MALVERN
I can assure you there's one
difference between me and every
other crackpot who's waltzed into
this bunghole town: I don't waste my
time on anything less than a sure
thing.
Dodge keeps playing with the money, weighing his options.
DODGE
It's tempting, I gotta say. But it's
the sure things that always turn out
the bloodiest.
Tiring of Dodge's reticence, Malvern checks his watch:
MALVERN
Either take my money or quit
fondling it. I don't make offers
twice.
Dodge hesitates, then flips the cash back to Malvern.
DODGE
Think I'll quit while I'm still
alive.
Malvern coldly eyes Dodge for a moment, then turns to leave.
MALVERN
If you call this living...
DODGE
Close the screen, would you?
(beat)
Keeps the bugs out.
After Malvern ignores him, Dodge lolls his head back, already second
guessing himself. Hearing the radio static, he whacks the old Hamm
with a pinch more vinegar; this time the reception clears, the game
audible again. Dodge smiles.
CUT TO:
EXT. JUNGLE ROAD - DAY
A beat up TRANSIT BUS plods along a muddy dirt road which winds
through intermittent jungle. A changeable sign across the front of the
bus reads: "IQUITOS to FRANCISCO DE ORELLANA"
INT. BUS - DAY
Find Lara sitting in a lotus position at the back of the half-filled
bus, working intently on her customized LAPTOP, biting her lip in
girlish concentration. She has just finished uploading Darby's Hi-8
video onto her hard drive.
CU - LAPTOP: The digitized video plays with stutter framing.
DARBY (ON TAPE)
Please forgive the melodrama, my
dear, but I'm certain the phone
lines here aren't safe. You've heard
of El Dorado, the lost city of gold?
Well, believe it or not, I actually
found a map to the place. And it
is authentic.
The video camera PANS as Darby indicates the map, unfurled atop the
desk and illuminated by a SPECIAL INFRARED LAMP.
BACK TO SCENE
Lara FREEZE FRAMES the video and employs a sophisticated ZOOM &
ENHANCE feature which actually brings the distant, blurry map into up-
front focus. Lara smiles victoriously.
LARA
Ah-ha.
Lara hears TITTERING and looks up to see all the LOCAL KIDS on the bus
turned around in the seats. staring at her with fascinated eyes.
EXT. FRANCISCO DE ORELLANA - SHORT WHILE LATER
The stopped bus pulls away...revealing Lara standing in the middle of
the one street town, BACKPACK at her feet.
FOLLOW LARA as she throws her bag over one shoulder and walks towards
a SMOKE PLUME curiously snaking into the air. Allong the main street
are "Cerrado" signs in every shop window.
The town feels strangely deserted, except for the Cantina, where a
handful of LOCALS suck on cervezas -- as Lara passes, naturally the
conversations stop, all eyes fixed on her.
TEMO (25), a shifty-eyed local, is the first to his feet and makes a
beeline for Lara, flashing his cherubim smile.
TEMO
Senorita need guide?
Lara keeps walking, projecting disinterest very well.
LARA
I was told in Iquitos you'd have
everything I need to go up river.
TEMO
You two hours late. Everyone here
buyed out. But if you hire Temo as
guide, I get you supplies.
Lara finally stops, turns around and faces Temo.
LARA
Very persistent, aren't you, Temo.
How much?
Temo sizes Lara up. Very much likes what he sees.
TEMO
For you...? Only five hundred.
American. Temo carry everything.
Temo graciously takes the backpack from Lara.
DODGE (O.S.)
Save you money!
REVEAL - DODGE, beer in hand, leaning against the Cantina door,
wearing a knowing smirk.
DODGE (CONT'D)
Probably save your life, too.
TEMO
Don't listen to Dodge. He's only
jealous cause I here first.
Dodge sips his beer, sauntering towards Lara and Temo.
DODGE
As far as scams go around here,
Temo's got a pretty decent one. Once
you get up river he'll sell you to
the banditos for fair market value.
Then trade your lingerie for a one
nighter in Iquitos.
Lara looks at Temo, who shakes his head adamantly.
LARA
How very entrepreneurial.
(to Dodge)
But what's to say you're not part of
the scam as well?
Dodge finally reaches Lara and Temo, enjoying the last swig of his
beer before he responds.
DODGE
Because I didn't swipe your
bracelet.
Lara suddenly realizes her DIAMOND TENNIS BRACELET is gone. Temo drops
the backpack and takes off...
Acting quickly, Lara scoops up her backpack, takes a couple steps
after Temo...then spins and hurls the bag like a discus thrower!
Hitting Temo in the legs, tripping him up.
Before Temo can scramble back to his feet, Lara stomps one of her
hiking boots down on his back, pinning him under.
LARA
Don't make me search you. I haven't
had my Rabies shot.
Fumbling a hand through his pocket, Temo holds up the bracelet -- Lara
kicks his hand, sending the bracelet into the air, where she catches
it with ease.
LARA (CONT'D)
Alright Temo, game's over.
Temo picks himself up, dusts himself off. But before he leaves, he
curses and spits in the general direction of Dodge, who's gotten a
good chuckle out of this incident.
LARA (CONT'D)
So what's your angle, Dodge?
Dodge meanders over to Lara, clearly intrigued by her.
DODGE
Twinge of conscience. It'll pass.
LARA
Is that so?
DODGE
Truth is I've seen a lot of crazy
people come through here. But I've
never seen anybody burn all the
supplies in town just to throw off
followers.
He indicates with a head gesture the SMOLDERING REMNANTS of a bonfire
in the dirt clearing near them.
DODGE (CONT'D)
I'm guessing you're chasing his map.
LARA
Got my own copy actually.
DODGE
You seem to handle yourself pretty
well, but a lot of people head up
into those mountains looking for El
Dorado. Most of them never come
back.
Undeterred, Lara re-hefts her backpack and walks towards Dodge's
"JUNGLE GUIDE..." office right across the main street.
LARA
I take it this is your fine
establishment?
She glances back to Dodge.
DODGE
The "Good English" give me away?
Lara opens the screen door, but stops before entering.
LARA
Enough foreplay. What to do you say
we get down to business?
DODGE
What makes you think I want the job?
LARA
Where there's a twinge, there's
still hope.
Lara disappears inside, leaving Dodge to ponder his next move with an
uncertain smile.
CUT TO:
EXT. NAPO RIVER - DAY
AERIAL VIEW of this slow-moving river which serpentines through the
dense Peruvian vegetation. FIND a weathered TRAWLER BOAT chugging
along upstream through a light FOG.
EXT. DODGE'S TRAWLER - DAY
Lara, clad in a wind-breaker to keep the mid-morning mist at bay,
explores the narrow deck, taking in the row of sun-bleached ALLIGATOR
JAWS nailed to the exterior cabin wall.
LARA
Not exactly the Love Boat, is it?
Dodge, steering the trawler from inside his small cabin, takes his
eyes off the river ahead for only a moment.
DODGE
Black Caimans. Largest gators in the
world. Just one of the many
obstacles between you and El Dorado.
(calls out in Spanish)
Watch this bend for silt piles!
DODGE'S BOATMEN (Carlos, Luiz and Paolo) are bent over the front
railing, working 20' long poles. Probing the river and shoreline
ahead. Carlos gestures to "stay right."
INT. TRAWLER CABIN - CONTINUOUS
Lara wanders into the cramped quarters decorated with strange CURIOS
and faded POLAROIDS from Dodge's numerous jungle tours.
LARA
Made this trip a few times, have
you?
DODGE
This river may be the safest way
into Ecuador, but the Napo is no
easy woman. You've got to take her
slow, be real gentle. Or she'll
grind you up and spit you out.
LARA
Aren't you the romantic.
DODGE
Forget romance. You gotta be a
realist down here. The search for El
Dorado is a fool's errand. 400 years
and millions of dollars have
produced nothing but an impressive
list of fatalities.
LARA
I've read all the stories. But just
because no one's found El Dorado,
doesn't mean it's not out there.
DODGE
Let me tell you a story you probably
don't know. About ten years ago this
National Geographic cover boy came
down here with a sure-fire map and
six-figure trust fund. Predicted
he'd find El Dorado in a week...
LARA
(finishes his story)
...three years later he'd lost his
money and his reputation.
This draws a surprised look from Dodge.
LARA (CONT'D)
I remember reading about this poor
chap when I was at Cambridge. He
looked much different then. Quite
dashing, actually. Always wondered
what happened to him.
Both of them know exactly who they're talking about. With a begrudging
smile, Dodge turns his eyes back to the river.
DODGE
I'll tell you what happened. He
wised up. Finally figured out he was
better off selling the dream than
buying into it.
All three Boatmen start shouting urgently, but only Carlos seems to
speak English.
CARLOS
Whirlpool! Whirlpool!
Dodge quickly kills the trawler's motor and warns Lara:
DODGE
Better grab onto something sturdy!
As Lara locks an arm around a cabin support pole, the boat starts to
drift sideways, caught in the strong cross-currents responsible for
the WHIRLPOOL looming ahead.
LARA
Can I help?
DODGE
Yeah. Don't move.
Lara rolls her eyes as Dodge hurries from the cabin.
EXT. TRAWLER - CONTINUOUS
As the trawler spins helplessly around, held in the relentless spiral
of the whirlpool's vortex, Dodge moves to the front of the boat,
yelling instructions at his Boatmen.
DODGE
Keep us off the shores!
Following his orders, the boatmen work frantically to push the trawler
to safety. But Paolo's POLE is suddenly wrenched from his hands by the
vicious undertow...throwing the boatman off-balance and overboard!
Carlos and Luiz start shouting.
Dodge rushes to join Carlos and Luiz at the railing, where they all
stare into the swirling water until...Paolo resurfaces gasping for
air!
DODGE (CONT'D)
The poles! Give him something to
grab!
Carlos and Luiz extend their long poles towards Paolo, who grabs
feebly for them, too distracted by:
A PAIR OF BLACK CAIMAN ALLIGATORS! Sensing easy prey. But just as the
first gator is about to reach Paolo...
Dodge whips out a serrated BOWIE KNIFE and expertly throws the blade
...skewering the Caiman in the head, killing it instantly!
But Paolo is not out of trouble yet. He loses his grip on Carlos' pole
as the trawler keeps spinning in the whirlpool. And the second gator
is closing in...
DODGE (CONT'D)
Other side!
To compensate for the continual spinning, Dodge leads the two Boatmen
over to the other side of the trawler where:
LARA is already hanging bravely over the edge of the deck, her legs
clamped onto the railing.
LARA
Take my hand!
A floundering Paolo reaches up and grabs onto Lara's hand while Dodge
and the two boatmen help pull them both to safety until...
THE SECOND CAIMAN LUNGES UP FROM THE MURKY WATER -- CRUUUUNCH! Massive
jaws chomp down on Paolo's forearm!
Lara and the three men topple backwards onto the deck as Paolo's awful
SCREAMS gurgle away under water. Sitting on her butt, Lara finally
realizes she is still holding Paolo's SEVERED HAND! Disgusted, she
shakes the limb loose.
Carlos and Luiz move back to the railing, staring despondently down at
the calming waters where the Caiman feeds on Paolo. Dodge angrily
picks up the hand and tosses it into the river.
DODGE
(to gator)
Might as well have the rest of it!
(beat; to Lara)
Add another name to the list.
Off Lara's concerned face, we;
CUT TO:
EXT. LAKE GUARANTTA - DAY
At 6,000 feet overlooking the lush valley below is an inactive volcano
basin, half-filled with water. A singular WEDGE cut into one section
of the rim is testament to some explorer's long ago attempt to drain
this mysterious lake.
The water's surface begins to RIPPLE. The portentous sound of JET
ENGINES spoils the tranquility as Malvern's Bell-Boeing rises unevenly
above the basin rim.
LARSEN (O.S.)
These winds up here are nasty!
INT. BELL-BOEING 609 - DAY
Packed with the seven Aussies and their equipment. As Larsen struggles
to keep the plane steady, Malvern, in the passenger seat, stares down
transfixed at Lake Guaranita.
MALVERN
Somewhere under that water is a
secret worth billions.
LARSEN
Gonna have to park this birdie down
below, or we're going for a dip in
that water right quick.
Malvern finally acknowledges Larsen with a dismissive "Do what you
have to" gesture.
BACK TO:
EXT. NAPO RIVER - DAY
Dodge's trawler chugs to a stop at the mouth of small but steep
rapids. From inside the cabin Dodge yells to Boatmen:
DODGE (O.S.)
Drop anchor and rig the ramp!
EXT. TRAWLER - DAY
Sitting in her now-familiar lotus position under a tattered canopy at
the back of the trawler, Lara works on her laptop, examining the
digitally enhanced image of Darby's map.
CU - LAPTOP: Upon closer inspection of the map we see the words "EL
DORADO" marked by a GOLDEN SUN symbol directly over an unnamed body of
water. One of the sun's rays extends curiously into the lake where a
SECRET DOOR has been drawn.
DODGE (O.S.)
Malvern said he killed for that
map...
Lara finds Dodge sneaking a peek over her shoulder.
DODGE (CONT'D)
I was expecting something more
original.
LARA
The man he murdered was a dear
friend. Don't insult his memory by
suggesting this map is useless.
DODGE
Apologies to your friend, but Lake
Guaranita's not hiding anything. You
and Malvern are both wasting your
time.
LARA
Maybe Malvern, not me. Since this
map was made in 1523, magnetic north
has moved four degrees, give or
take. That puts this lake on the map
approximately 90 meters north of
Lake Guaranita. That's where I'm
going.
DODGE
Clever. One problem, though: there
isn't so much as a mud puddle in
that direction for 200 miles.
LARA
(re: map)
The lake is gone. A volcanic
earthquake in 1814 drained the
entire bas in. Meaning this
underwater door to El Dorado is
actually on dry land.
Lara shuts down her laptop, loads it into her backpack.
DODGE
(shakes head, amused)
I've heard a lot of wild theories.
That one takes the cake.
Lara will not be daunted.
LARA
Admit it, Dodge. All this talk about
El Dorado is getting you excited
again. You're thinking, "Maybe this
could be the one -- "
DODGE
(interrupts; defensive)
-- The deal was I'd take you up
river. That doesn't mean I have to
watch Malvern and his goons gun you
down. I do tours, not funerals.
LARA
I've had more fun at funerals.
Lara hefts her backpack and strides for the ramp. Dodge follows her,
starting to feel guilty already.
DODGE
Look...I'd only slow you down. Take
Luiz and Carlos with you. They know
the jungle better than me anyway.
LARA
(sarcastic)
Another twinge of conscience?
DODGE
(in Spanish; to Carlos)
Go with the lady. First sign of
trouble, bring her back here.
LARA
(in Spanish; to Carlos)
Ignore him. Come with me only if
you'd like to make some real
money.
Carlos looks at Dodge, then nods to Lara. He and Luiz arm themselves
with MACHETES. They follow Lara down the ramp.
DODGE
(to Lara)
I'll wait here until I hear
gunshots, or until you make it back.
Whichever comes first. Otherwise
it's about a day's walk back to the
village.
Lara looks over her shoulder at Dodge for a parting salvo.
LARA
I can't figure if you're more
worried about my safety...or the
fact that I just might find El
Dorado. And put you out of business.
Not willing to answer that question, Dodge watches Lara confidently
set off into the jungle with Carlos and Luiz.
TIME CUT:
EXT. ECUADOR JUNGLE - DAY
The blazing sun above beats down on the rugged, semi-tropical terrain.
Wild birds squawk incessantly throughout the canyon.
PICK UP Lara following along a path cut by the machetes of Carlos and
Luiz. Wiping the sweat from her face, Lara removes her wind-breaker,
stripping down to a tight halter top; a detail that doesn't go
unnoticed by Carlos and Luiz.
Suddenly, the sound of distant UZI FIRE shatters the relative calm of
the jungle. Lara and the Boatmen duck in the brush.
LARA
Wait here.
Lara pulls out her DUAL PISTOLS. FOLLOW Lara as she traverses a narrow
path through the trees, until she comes upon:
EXT. MALVERN'S BASE CAMP - DAY
A cluster of TENTS form a semi-circle around the Bell-Boeing 609
parked in a small clearing. Two of Malvern's men are laughing it up as
they return to the camp with UZIS and a bullet-ridden PECCARY (wild
pig) tied to a rope.
IN THE BRUSH
Lara gestures for Carlos and Luiz to join her; they both look
considerably more nervous than her as she threads the compression
assembly into her pistols and loads them with TRANQ DARTS.
LARA
Not very sporting, hunting with
uzis. Somebody needs a lesson in
nature appreciation.
Lara boldly walks into the camp, surprising the Aussies, who drop the
peccary and reach for their guns. But Lara carefully takes two-fisted
aim on both Aussies, then fires her pistols simultaneously --
-- SHTUT! SHTUT! The darts pierce each Aussie's neck, crumpling them
instantly to the ground. FOLLOW Lara as she waves Carlos and Luiz into
the Base Camp.
LARA (CONT'D)
(to Carlos and Luiz)
Look for juice, chocolate. Anything
sweet.
Carlos and Luiz have no idea why, but they obey.
AT THE BELL-BOEING
Lara unlatches the engine hatch. She removes the INTERRUPTER CAM and
shoves it into her backpack. Carlos emerges from a nearby tent with a
plastic bottle of HONEY.
LARA (CONT'D)
Excellent.
Lara opens the bottle of honey, walks over to the unconscious Aussies
and starts dousing them in the sticky, sweet stuff... Carlos and Luiz
are utterly confounded.
LARA (CONT'D)
By the time they wake up, they'll be
covered in fire ants.
(smirks)
Like to see them shoot their way out
of that one.
Carlos translates for Luiz, and they both smile too, envisioning the
unpleasant outcome.
EXT. ECUADOR JUNGLE - DAY
Further up the trail, Lara follows Carlos and Luiz, both still hacking
away with their machetes. But something catches Lara's eye: clumps of
recently dug earth in a pattern.
Lara gets down on her knees and carefully pushes the dirt aside,
revealing an AP LAND MINE.
LARA
Stop guys! Now!
Carlos stops, looks back. But Luiz keeps walking, chopping away until
...KABOOM!
EXT. LAKE GUARANITA - CONTINUOUS
The Aussies, completing the set-up of an elaborate DIVING OPERATION on
the lake, are alerted by the distant explosion.
MALVERN
One of the mines.
Larsen, applying sunblock, grabs a pair of BINOCULARS.
POV - LARSEN (THROUGH BINOCULARS)
We scan the jungle path near the base camp, settling on the blasted
remains of a PECCARY.
LARSEN (O.S.)
Just a peccary.
MALVERN (O.S.)
A what?
BACK TO SCENE
LARSEN
Bloody pig.
But Malvern does not appear entirely convinced.
MALVERN
Have Base Camp check it out.
EXT. ECUADOR JUNGLE - MOMENTS LATER
Lara watches, waits for the GLINT of Larsen's binoculars in the sun to
disappear before she steps from the underbrush. Lara stands over the
bullet-riddled peccary from Malvern's camp (laid cleverly over the
exploded mine.)
LARA
Let's hope that fooled them.
Lara moves to Luiz's dead body where Carlos is already kneeled beside
his dead friend in prayer.
LARA (CONT'D)
You were close with him?
Carlos looks up, holding back his emotions.
CARLOS
My cousin.
Lara kneels down beside Carlos, lays a sympathetic hand on his
shoulder.
LARA
I'm very sorry, Carlos. If you want
to go back, I understand. But I must
keep going.
CARLOS
(stands, determined)
No. I will go with you. For Luiz.
Lara nods and hands him one of her pistols.
DISSOLVE TO:
EXT. LAKE GUARANITA - LATER THAT DAY
Malvern stands atop the lake rim taking out his impatience on a
cigarette. He's staring down at the fully assembled DIVING PLATFORM
floating off the near shore.
Larsen, white sun-block smeared on his nose, is seated nearby on a
fold-out chair reading an issue of "Cosmopolitan." The headline on the
cover: "Show, Don't Tell."
LARSEN
(to Malvern)
Did you know that 63' of women are
multi-orgasmic? It's just not fair.
A diver breaks the surface and confers with a second diver on the
platform. The second diver gives Malvern a "thumbs down" signal,
prompting Malvern to angrily snuff out his cigarette butt.
MALVERN
Larsen, what the hell kind of people
did you hire? The divers are
incompetent, Base Camp is suddenly
incommunicado, and you're reading a
goddamn magazine!
In a flash of his temper, Malvern kicks the magazine from Larsen's
hands. Larsen picks up his walkie-talkie and barks a warning:
LARSEN
(into walkie)
Listen up you dickheads, don't make
me come down there.
EXT. MALVERN'S BASE CAMP - DAY
Larsen's droping threats finally revive one of the Aussies from his
tranquilized slumber... It takes him a moment to realize he's covered
from head to toe in FIRE ANTS; he turns his head to see that Aussie #2
is laid out next to him in the same predicament. As the searing bites
register with his central nervous system:
AUSSIE #1
AHHHHHHHHHHHHHHHHHHHHHHHH!!!
EXT. LAKE GUARANITA - DAY
Larsen holds the walkie away from his ear as the SCREAMS of both
Aussies nearly burst his eardrum.
LARSEN
What the hell...!?
MALVERN
Peccary my ass.
While Larsen keep barking threats into the walkie, Malvern picks up
the BINOCULARS and starts scanning the surrounding valley, sweeping
from Base Camp northward.
MALVERN (CONT'D)
We've got company.
POV - MALVERN (THROUGH BINOCULARS)
In the adjacent, enclosed basin below, Lara uses a hand-held SCANNING
DEVICE while Carlos watches her back, pistol drawn.
MALVERN (CONT'D)
Two of them. Girl's got what looks
like a spectrometer...
BACK TO SCENE
Malvern slowly lowers the binoculars, having an epiphany.
MALVERN (CONT'D)
She's looking for volcanic gasses...
another entrance.
(to Larsen; urgent)
Get two men back to Base Camp. The
other two are coming with me.
EXT. VOLCANIC FISSURE - DAY
Lara's SPECTROMETER registers high levels of sulfuric acid over a
narrow fissure.
LARA
Ah-ha.
CUT TO:
COMPLETE DARKNESS. Then...a rustle. A snap -- whoosh! A burst of
controlled chemical flame. A FLARE casts light on Lara and Carlos, who
proceed cautiously. We are:
INT. VOLCANIC FISSURE - DAY
A few yards into the fissure, the walls become smooth, lined with
tell-tale STONE FORMATIONS.
LARA
(re: stonework.)
Incan. Early 16th century. Look how
perfect the seams are...
The gently-sloping path is abruptly closed off with an immense STONE
SLAB. Lara scans the area and notices a WALL LEVER.
LARA (CONT'D)
Not much choice, is there?
Carlos shakes his head warily as Lara pulls the lever. Unseen gears
grind, portending trouble. But finally, the slab slides out of the way
...revealing a small ANTECHAMBER.
INT. ANTECHAMBER - DAY
Lara cautiously leads Carlos into the non-descript room. As soon as
Carlos steps on the center tile...
SLAAAAM! The stone slab shuts behind them. Flare in hand, Lara quickly
searches the room. No lever anywhere. But there are NOTCHES carved
into the wall...
LARA
This way!
Lara pulls Carlos back against the wall without notches as: the floor
slides open beneath them...but only halfway!
LARA (CONT'D)
An airlock. Very ingenious.
CARLOS
Air lock?
LARA
Like a submarine. This cavern used
to be at the bottom of a lake. Had
to keep the water out.
Lara peers down the vertical shaft below them. With the flare she can
see a few more NOTCHED STEPS in the stone wall...but the rest have
been destroyed by another FISSURE.
LARA (CONT'D)
Can't climb down...
Lara drops the flare down the shaft to gauge its depth. About 50 yards
before -- Fssssst. The flare hits a pool of water and extinguishes.
CARLOS
I don't swim.
LARA
No problem. I always come prepared.
Lara hooks a wire from her BELT WINCH to a PITON, then loads the piton
into her compression assembly pistol. Firing the piton into the shaft
ceiling, Lara steps off the antechamber's half-floor and dangles
beside Carlos.
LARA (CONT'D)
Let me get down a ways, then grab
onto the cable yourself.
Carlos nods apprehensively, watching as Lara lowers herself deeper
into the shaft, scanning the walls with her FLASHLIGHT. Swallowing his
fear, Carlos reaches for and grabs hold of the cable...slowly lowering
himself down behind Lara.
Lara's flashlight exposes a series of HIEROGLYPHICS carved onto the
shaft. They appear to be a warning of some kind. Showing BLADES that
will cut in half any tomb raiders who venture down the shaft without
stepping in one particular notch...which Lara realizes she's already
passed.
LARA (CONT'D)
Oh dear.
Suddenly, CROSS-CUTTING BLADES slide from the shaft walls in several
places...nearly decapitating Carlos and almost severing Lara's legs!
Their cable cut, they both plummet the last 20 yards into the pool
below, screaming all the way down.
INT. SUBTERRANEAN CAVERN - DAY
Lara and Carlos SPLASH down then quickly break up through the surface
of a small reservoir. Carlos splashes around, no swimmer. But Lara
stands, showing the water only comes to her chest.
LARA
There's a step here.
But as Carlos paddles onto the step, Lara's flashlight reflects off of
dozens of BEADY EYES surrounding them.
CARLOS
(with dread)
Rats.
LARA
Aim for the eyes.
The chamber is quickly filled with the ECHOES OF GUNFIRE as Lara and
Carlos ascend the underwater steps, shooting rats when they get too
close. The steps lead to:
INT. MAUSOLEUM ROOM - DAY
FOLLOW Lara and Carlos as they enter a stunning, vast subterranean
cavern housing towering GOLDEN STATUES and TWO GOLD-ADORNED MAUSOLEUMS
built squarely in the middle of the chamber, facing one another.
CARLOS
El Dorado?
LARA
Just the tip of the iceberg, if
we're lucky.
Lara cracks a couple FLARES and tosses them throughout, illuminating
the chamber in an eerie orange glow. Carlos walks with awe towards a
HALF-PUMA/HALF-MAN STATUE with EMERALD EYES -- Lara grabs his hand
before he touches one of the jewels.
LARA (CONT'D)
Careful, Carlos. We're intruders
here. Anything could be a trap.
Lara walks cautiously to the center of the chamber, standing between
the two mausoleum entrances.
LARA (CONT'D)
Looks like a royal burial chamber
for the last Incan king, Manco.
With her flashlight Lara examines the two different STATUES atop each
mausoleum.
LARA (CONT'D)
Theses statues represent two of the
primary gods of the Inca religion.
Mama Kilya, the mother moon; and
Ilyapa, the thunder god.
Carlos joins Lara, peering nervously down the ominous stairwell
leading into one of the mausoleums.
LARA (CONT'D)
I'd wager that Manco's wife is
guarded by Kilya, and his firstborn
son sleeps under Ilyapa.
CARLOS
Where is Manco?
Lara turns her flashlight on an enormous pair of DOUBLE DOORS at the
far back wall. Above the double doors is an immense GOLDEN SUN carved
into the stone.
LARA
That sun represents Inti, the sun
god. My guess is Manco is buried
behind those doors.
CARLOS
(hopeful)
Maybe El Dorado is behind there,
too.
LARA
Could be. Certainly, no need to
disturb these other tombs...
Carlos follows Lara back towards the massive double doors. But Lara
stops him with a warning hand.
LARA (CONT'D)
Better stay back. I have a feeling
they haven't rolled out the red
carpets for us.
Lara tosses Carlos her backpack, then slowly approaches the doors to
Manco's tomb, which appear to be hermetically sealed. Carved into both
doors are KEYHOLES.
LARA (CONT'D)
Knife, please.
Carlos pulls a KNIFE from Lara's backpack and flips it to her. Biting
her lip in concentration, Lara tries to jimmy one of the keyholes...
until the floor beneath her feet starts to pivot! Carlos jumps back
in fear.
Maintaining her composure, Lara skids down the now-angled section of
floor...turns and STABS HER KNIFE into the floor, holding on with both
hands as the floor continues to rotate.
POV - LARA
The sub-chamber is filled with SKELETONS impaled on BLOOD INCRUSTED
SPIKES!
BACK TO SCENE
As the floor rotates, Lara dangles inches above the jagged spikes, her
grip on the dagger slipping...one hand falling away...but now the
floor rotates back to its original position and resets itself. Sparing
Lara the fate of many unprepared tomb raiders before her.
LARA (CONT'D)
That was fun.
Jaw dropped, Carlos remembers to breathe again.
LARA (CONT'D)
Looks like we have to pay a visit to
mommy and junior after all. See
about some keys.
INT. TUPAC'S MAUSOLEUM - STAIRS - DAY
Carlos nervously follows Lara down the narrow stairs.
LARA
I've found that traps usually
reflect how the entombed lived...and
died. Manco's son, Prince Tupac
Amaru, was killed by Spanish
Conquistadors. He was beheaded then
burned at the stake.
CARLOS
(gulp)
I'll wait here.
Carlos wisely stops midway down the stairs.
INT. PRINCE'S TOMB - DAY
Stepping down off the final stair, her eyes wide and alert, Lara
enters Tupac's tomb with only a FLASHLIGHT. The rectangular room
appears harmless: an ornately carved SARCOPHAGUS raised on a stone
pedestal. One more step, though, and the stairs behind her suddenly
retract into the wall with a resounding THUD!
Carlos is kneeled at the edge of the stairs where there is now a 15'
drop down into the tomb.
CARLOS
You okay?
LARA
Fine. Just get a rope ready. That
can't be the worst of it.
As Carlos pulls a ROPE from Lara's backpack, Lara notices that BLACK
LIQUID is oozing up into the room from a sub-area previously blocked
by the stairs. Lara inspects the liquid.
LARA (CONT'D)
Oil... Better hurry with that rope,
Carlos!
Lara hops up onto the stone pedestal to keep away from the rising oil,
which curiously stops flowing once the room is covered with a one foot
layer of the black ooze.
Not sure what to make of this, Lara returns to the task at hand. Using
all her strength, Lara pushes the heavy lid of the sarcophagus...
inside of which she finds A BEJEWELED KEY resting on the Prince's
mummified chest.
But when Lara takes the key...the sarcophagus starts to lower into
the oil!
INSERT SHOT: FLINT STONES on the back of the sarcophagus scrape the
wall and SPARK as it lowers.
THE TOMB BURSTS INTO FLAMES! Lara instinctively leaps for the rope
Carlos has lowered from the edge of the stairs...just catching it with
her fingertips!
Lara scrambles up the rope -- which is burning behind her -- as TWO
STONE SLATS slide closed from both sides of the stairwell. The tomb
is sealing itself up like a kiln...with Lara in it! Carlos grabs hold
of the rope and pulls Lara to safety just the tomb seals itself.
Again, Carlos is emotionally spent.
CARLOS
Don't say that was fun.
LARA
Mildly diverting.
(teasing Carlos)
Can't wait to see what mommy's got
in store for us.
INT. MAUSOLEUM ROOM - DAY
Lara and Carlos exit the Prince's tomb and walk 20' straight across to
the Queen's tomb entrance.
CARLOS
I hate to ask but...how did the
Queen die?
LARA
You'll want to wait on the stairs.
Trust me.
INT. QUEEN'S TOMB - DAY
This time Lara descends the stairs more carefully while Carlos watches
on from midway up. With every step, Lara scans the walls, the floor,
the ceiling. When she reaches the bottom of the steps, she half-
expects the stairs to retract again...but they don't.
The Queen's SARCOPHAGUS is set in a RECTANGULAR DEPRESSION in the
floor against the far wall. Lara is now faced with a long walk across
the room, her every step echoing ominously. Sweat starts to bead on
her forehead as Lara searches vainly for a sign of the traps to
come...
Finally, Lara reaches the depression and gently climbs down next to
the sarcophagus. She drops to her knees and inspects every inch of the
coffin: no signs of a trap.
So Lara cautiously tests the lid, which is carved in the shape of a
beautiful woman --
-- SPIKES SHOOT FROM THE HANDS, EYES, AND MOUTH ON THE LID! The lid
itself then springs upright on its lateral hinge, right at Lara...who
jumps backwards against the depression wall just enough so that the
spikes stop millimeters from her torso and face!
Suddenly, loud GRINDING can be heard behind the main tomb's side
walls...which now start closing in above Lara! A quick check of the
distance back to the stairs tells Lara she'll never make it before
being squashed...or sealed into the rectangular depressicn with the
Queen's mummy!
So Lara MULE-KICKS the sarcophagus lid above the hinge...which cracks
and sends the lid smashing back onto its resting place atop the
sarcophagus.
Now Lara runs to the back of the sarcophagus and slides the lid
forward...until it teeters on the front edge of the sarcophagus, then
tilts to the floor. This leaves one end of the lid pointed at the
ceiling (just above the lip of the depression) and the other end of
the lid touching the floor.
In a flash -- with the tomb side walls getting closer each second --
Lara grabs the second KEY from the Queen's mummy, then hops over the
tilted lid, climbs out of the rectangular depression and makes a run
for it across the main tomb floor.
REACTION SHOT: Carlos has his hands over his eyes, watching through
his fingers as:
The walls continue to close in tighter. But moments before Lara is
crushed...the walls stop! Lara looks back, pleased to see: the raised
end of the sarcophagus lid has stopped the walls from closing
further. Her plan worked --
-- CRUUUUUUNCH! The lid BUCKLES and CRACKS under the extreme pressure.
The walls lurch to life again!
Lara starts running...the path back to the stairs getting ever more
narrow...forcing Lara to run side-step now...
CU - THE SARCOPHAGUS LID is about to be pulverized!
Lara senses the end and executes a mid-air TWIST/REVERSE ROUND OFF,
sticking her landing three steps below Carlos just as the walls SLAM
together. Carlos shakes his head.
CARLOS
You are not human.
LARA
I'll take that as a compliment.
Lara leans over to dust herself off, but finds she can't: the walls
have closed on the end of her ponytail.
LARA (CONT'D)
Knife, please.
Carlos flips her the knife again. Then he watches Lara cut herself
free, losing an inch or two of hair.
LARA (CONT'D)
Needed a trim anyway.
As they start up the stairs, Carlos walking backwards, rambling
nervously to Lara as she ascends with him.
CARLOS
I never seen anything like this. All
these traps. And still the King's
tomb to go. How can we ever make it
to El Dorado?
LARA
As long as we stick together we just
might get out of here alive.
As they reach the top of the steps leading back to the Mausoleum Room.
Carlos stops, gasps.
LARA (CONT'D)
Carlos?
Carlos slumps forward, shot from behind! Lara props up his dead body
for a moment, then ducks as the mausoleum wall ERUPTS under silenced
sniper fire.
Lara grabs back the pistol she lent Carlos and unholsters her own.
After she pulls on her backpack, Lara makes the sign of the cross over
Carlos' body.
LARA (CONT'D)
Rest in peace, my friend.
Then she sprints out of the Queen's tomb...
INT. MAUSOLEUM ROOM - CONTINUOUS
Dodging a flurry of BULLETS, Lara runs and shoots her guns, then DIVES
and ROLLS behind the Prince's tomb. TWO AUSSIE SNIPERS continue to
shoot in her direction, Lara puts down her guns and takes the AIRTANK/
FLAMETHROWER from her backpack.
CUT TO:
EXT. ECUADOR JUNGLE - DAY
Luiz's CORPSE laying on its back in the brush.
REVEAL - DODGE staring down at his former Boatman with a sad look of
frustration.
DODGE
Why do they never listen to me?
Dodge hears FOOTFALLS in the jungle. Larsen and two other Aussies
approaching. He takes one last look up towards Lake Guaranita and
mutters:
DODGE (CONT'D)
Good luck, Lara. You're gonna need
it.
As Dodge starts jogging back towards the Napo river, we go;
BACK TO:
INT. MAUSOLEUM ROOM - DAY
The AUSSIE SNIPERS walk out of the shadows searching for Lara. Their
WALKIE TALKIES squelches to life.
MALVERN (O.S.)
(over walkie)
I heard shots. Talk to me.
AUSSIE #3
I dropped the monkeyman. Now it's
the girl's turn.
AUSSIE #4
We'll let you know when it's safe.
The two snipers hear a HISSING noise and see the flickering light of a
controlled flame on one side of the Prince's mausoleum. They approach
the light from opposite sides and leap out of hiding simultaneously
and FIRE --
-- THE AIRTANK EXPLODES INTO FIERY METAL SHARDS! Taking out both
Aussie snipers. A beat. Then Lara drops down from atop the Prince's
mausoleum, landing next to the dead men.
CUT TO:
EXT. VOLCANIC FISSURE - CONTINUOUS
WALKIE-TALKIE in hand, Malvern stands over the fissure, peering down
into the darkness.
MALVERN
What happened!? Cutler! Garrett!
LARA (O.S.)
(over walkie)
Next time don't send boys to do a
girl's work.
Off Malvern's incredulous face, we go;
BACK TO:
INT. MANCO'S TOMB - DAY
The massive double doors CREAK open revealing Lara, a look of
anticipation on her face. We are:
INT. GROTTO - DAY
Lara walks into an impossibly beautiful GROTTO with a massive vaulted
ceiling, the centerpiece of which is a shallow REFLECTING POOL
surrounded by a dozen pillars at least two stories high --
-- WHUUUMP! The double doors have slammed shut behind Lara.
On the far side of the grotto Lara finds an ornate entranceway blocked
by solid gold SUN RAYS. But the gaps between rays are not large enough
to crawl through. So Lara pulls out her VIDEO PROBE with REMOTE
CONTROL DEVICE (and mini view screen). Activating the airjet-powered
probe, Lara sends it floating inside the dark burial chamber.
CU - REMOTE MINI-SCREEN: Inscribed on all the walls are PAINTINGS
telling of Manco's great deeds. Depictions of wars won, incredible
amounts of gold amassed. One painting shows Manco holding a BLACK,
VASE-LIKE OBJECT from which gold seems to flow. Another painting finds
Manco praying before the black, vase-like object set atop a glowing
SHRINE.
Lara navigates the probe over to the centerpiece of Manco's burial
chamber: a round, solid gold SARCOPHAGUS. A spiral of HIEROGLYPHICS
particularly interests Lara, who starts feeding the images into her
laptop database. She mentally translates the message on the
sarcophagus...
LARA
You fooled us all, didn't you,
Manco?
Suddenly, the whole grotto RUMBLES. Lara spins around to see: the
water in the reflecting pool is splashing over the sides! The grotto
is filling up at an astonishing rate.
Lara shoves the probe and laptop into her waterproof backpack. She
runs to the center of the grotto, scanning the walls with her
FLASHLIGHT for a possible escape route. Nothing.
Lara tries to shimmy up one of the columns, but it's too wide. And she
slips back down...into water already neck deep!
LARA (CONT'D)
Could've used that air tank about
now.
As the water level swiftly rises, carrying Lara closer to the ceiling,
JAGGED SPIKES extend from the ceiling!
LARA (CONT'D)
Got to be a way out...
(revelation)
Or a way in.
Seconds from death by impaling, Lara takes a deep breath and dives to
the center of the reflecting pool...
UNDERWATER
Lara searches for and finds a NARROW INLET through which all the water
is flowing into the grotto. Barely able to fit, Lara squeezes inside,
FLASHLIGHT illuminating the way...
NEW ANGLE
Lara is swimming right at us, sloping upwards now. Her eyes wide with
fear as her lungs begin to shrink. Determination turns to desperation
as she abandons the flashlight to stroke with both hands. Faster and
faster...into darkness...
EXT. LAKE GUARANITA - DUSK
Gasping for air, Lara bursts up through the surface of the lake,
recognizable by the missing WEDGE in one side.
Malvern has abandoned the diving platform and pulled up stakes. As
Lara paddles for the shore...
CUT TO:
CU - THE BELL-BOEING ENGINE is missing the interrupter cam (an
integral part of the ignition system) that Lara stole.
LARSEN (O.S.)
Bitch wants to strand us out here.
We are:
EXT. MALVERN'S BASE CAMP - NIGHT
Larsen slams down the engine hatch. Malvern shakes his head, way ahead
of the game.
MALVERN
You don't disable the ignition to
strand us. You do it because you
need a way back yourself.
No one else seems to follow Malvern's logic, including Aussies #1 and
#2, their exposed skin peppered with swollen ANT BITES.
MALVERN (CONT'D)
Clear out the camp. Let's see if our
little rat takes the bait.
EXT. LAKE HILLSIDE - NIGHT
Lara climbs down the moderate incline, stopping beneath a cinchona
tree. She squeezes her hair out and re-braids it into a ponytail, then
pulls out a pair of CUSTOMIZED NIGHT GOGGLES from her backpack.
Scanning the valley below:
POV - LARA (THROUGH GOGGLES)
First point of interest: the Napo river where Dodge dropped her off.
The trawler is no longer moored near the rapids. Scanning further up
river, Lara spots Dodge's vessel half-way back to Francisco de
Orellana.
Lara PANS the goggles to Malvern's base camp, which looks invitingly
deserted. Until Lara flicks on the THERMAL-VIEW FILTER...illuminating
FIVE BODY-HEAT AURAS, lurking in a near-perfect perimeter around the
camp.
BACK TO SCENE
Lara smirks as she removes the goggles.
LARA
Planning a little ambush, are we?
From her backpack, Lara removes a SPREAD PIN. Loading it into her
compression assembly pistol, Lara takes aim on a tree directly across
from her by 50 meters -- a tree with roots planted right near the
Bell-Boeing.
The spread pin shoots silently to the treetop and catches in a branch
"V." Lara ties off the wire end to her cinchona tree. Using a HAND
TROLLEY, Lara starts the long, precarious journey from tree to tree.
NEW ANGLE
Larsen is once again reading Cosmo, this time tallying his point total
on a questionnaire:
LARSEN
(reads analysis)
"Buy him some Viagra, he needs
help!?"
(tosses magazine)
Stinking rag.
Twenty feet above him, Lara shimmies along stealthily until:
INSERT SHOT: The spread pin pulls through the branch "V."
Lara drops five feet as the wire goes slack, then taut again! The
spread pin re-catches in another "V." Now Lara's dangling by her hands
only, clinging to the hand trolley.
Directly below her, Larsen stands, alerted. Fingers on the uzi
trigger, Larsen looks every direction but up.
Lara gracefully regains her shimmy position and continues on into the
tree unseen.
EXT. MALVERN'S BASE CAMP - NIGHT
Lara descends the tree, placing her ten feet from the Bell-Boeing.
Scampering over to the plane, she quietly raises the engine hatch and
replaces the INTERRUPTER CAM.
INT. COCKPIT - NIGHT
Lara straps herself into her seat and reaches for the ignition. The
keys aren't there.
Thinking quickly, she pulls her night goggles back out and starts
scanning the base camp.
POV - LARA
Inside one of the tents across the camp, Lara ZOOMS IN on a set of
KEYS with a "BB" insignia laying on the MAP TABLE.
LARA (O.S.)
Ah-ha.
BACK TO SCENE
Lara puts away the night goggles and removes the REMOTE PROBE. Picking
through her backpack, she finds what she needs: another spread pin.
Cramming it into the hemispherical ridge on the probe, Lara improvises
a HOOK ATTACHMENT.
EXT. MALVERN'S BASE CAMP - NIGHT
The probe zips across the camp towards the map tent.
INTERCUT WITH:
INT. COCKPIT - NIGHT
Lara watches the MINI VIEW SCREEN as she manipulates the REMOTE
CONTROL DEVICE. She maneuvers the probe to hook up the keys...gets
them on the spread pin...but drops them onto a metal HALIBURTON CASE
-- CHAAAANG!
Malvern and his men all tense up, bring guns to the ready.
MALVERN
(into walkie)
Where'd that noise come from?
AUSSIE #1 (O.S.)
(over walkie)
One of the tents.
MALVERN
(into walkie)
Let's close in. Slowly.
As the Aussies all tighten their perimeter...
Lara bites her lower lip in concentration as she tries to re-hook the
keys. Out of the corner of her eyes she can see the Aussies emerging
one-by-one from the jungle.
One last try and the keys are hooked on the probe. But as Lara steers
the probe back towards the cockpit, a warning light flashes on the
remote control: "COMPRESSION LOW."
Outside, the probe falters, the compressed air-jets not moving it as
fast now...
Malvern spots the probe -- and the keys -- heading towards the Bell-
Boeing. Malvern OPENS FIRE, prompting everyone to unload their clips.
The probe spins around drunkenly, its jet assembly damaged... Lara
leans precariously out of the cockpit, briefly exposing herself to
Aussie gunfire, and reaches for the probe. She grabs the keys just as
the probe falls to the ground!
MALVERN (CONT'D)
STOP HER!
But as they close in -- WHOOOOOSH! Malvern and his men are blasted by
JET WASH from the Bell-Boeing 609. All the Aussies but Malvern open
fire again...
Lara deliberately throws the plane into a 360?ground spin...sending
the Aussies diving for cover...giving her just enough time and space
to ascend vertically from the jungle clearing.
FIND Malvern at a CRATE assembling a SURFACE TO AIR MISSILE!
Larsen spots the probe Lara left behind. Picking it up, he speaks to
the camera lens.
LARSEN
Listen up you wench...
INT. COCKPIT - NIGHT
Lara peers down at the MINI VIEW SCREEN which is on the seat between
her legs. Larsen's ugly mug appears as a static-filled transmission on
the remote display.
LARSEN
(on view screen)
We've got a little surprise for you.
Larsen points the probe-cam over at Malvern, who fires the missile!
Lara looks out the window of the plane:
POV - LARA
THE MISSILE swerves through the sky right at her!
BACK TO SCENE
Lara quickly searches the control panel, finally locating THE EJECT
LEVER, which she pulls back.
The cockpit canopy BURSTS open and Lara is jettisoned into the night
sky, still strapped into her seat!
EXT. SKY ABOVE - THE ECUADOR JUNGLE - NIGHT
As she tumbles away from the plane, the missile connects with the
Bell-Boeing...which EXPLODES IN MID-AIR!
A PARACHUTE deploys from the top of Lara's seat...and she floats
slowly into the dark jungle below.
EXT. MALVERN'S BASE CAMP - NIGHT
Malvern watches the distant explosion as he tunes in a frequency on
his SHORT-WAVE RADIO.
MALVERN
(into radio)
Send in my chopper -- you've got our
coordinates. And bring all the ammo
we've got left.
EXT. SHIPPING VESSEL - NIGHT
A sleek black HUEY CHOPPER takes off from the deck of a large shipping
vessel outfitted with WHALING EQUIPMENT (harpoon guns, nets, etc.) On
the side of the ship -- and the chopper -- the name "SEAPRO, INC." is
accompanied by a WHITE WHALE LOGO.
DISSOLVE TO:
EXT. FRANCISCO DE ORELLANA - LATER THAT NIGHT
The small town is ablaze. SMOKE clouds the main street where Larsen
and Aussie #3 beat the snot out of a LOCAL while Malvern watches on
with mild interest.
LARSEN
You thought you saw her?! Now what
the hell good does that do us?
Larsen kicks the Local a few more times for good measure.
MALVERN
Why don't you jog his memory.
Larsen flicks on his GOLD LIGHTER. Aussie #3 holds a MOLOTOV COCKTAIL
under Larsen's lighter, igniting the chemical bomb. Against the
Local's pleas, Aussie #3 hurls the cocktail into the Cantina. FLAMES
erupt.
REVEAL - DODGE watching this inquisition from a safe distance...
wanting to intervene, but powerless to do so. Head down, he crosses
the street into his shanty office.
INT. DODGE'S OFFICE - CONTINUOUS
Pulling his leather coat off a wall hook, Dodge stuffs it into an
already packed DUFFEL BAG.
LARA (O.S.)
I found it.
Dodge whirls, BOWIE KNIFE in hand and ready to throw...until he sees
Lara stepping from the shadows! Still beautiful but wearing half the
jungle on her clothes and in her hair.
DODGE
(distressed)
Are you crazy!? Didn't you see what
Malvern's doing to this town looking
for you --
(realizes)
You found what?
LARA
El Dorado. But it doesn't mean
"Golden City" like everyone thinks.
It means "Golden Man."
DODGE
Look, I don't have time to play word
games with you. I've got to get out
of here...
Dodge grabs up his duffel bag. As he exits:
DODGE (CONT'D)
I take it Carlos and Luiz didn't
make it?
Lara steps in front of Dodge, blocking his path. Their bodies almost
touching.
LARA
No. But they did help me get
inside Manco's tomb. He's the Golden
Man, Dodge.
DODGE
So you solved the mystery of El
Dorado. Bully for you. Doesn't mean
squat if you're dead.
(beat)
I'm leaving. You should too.
LARA
Wait. There's something else...the
source of all the Incan gold.
This gets Dodge's attention.
LARA (CONT'D)
There were directions to another
sacred place high in the Andes,
south of here. That's where King
Manco kept "The Black Veil," which
either located gold...or created it.
DODGE
(thinks about it but...)
I told you before, Lara, it's all a
wild goose chase. Forget it.
He moves away from her, checks out the window: Larsen and company are
working over another couple LOCALS.
DODGE (CONT'D)
They're working their way down the
street...
(turns back)
Do you have any idea who Malvern is?
I made a few calls, and you can
forget all that money he's throwing
around. His whaling business is
bankrupt. He's a desperate man,
Lara. He's got nothing to lose.
Lara takes a deep breath to utter uncomfortable words:
LARA
I need you, Dodge. I need your help.
This stops Dodge from exiting the back door.
DODGE
You managed to do in one day what I
wasn't able to do in ten years. What
the hell do you need me for?
LARA
I've got Manco's secret, but
Malvern's got me trapped.
(beat)
I don't want my name on that
impressive list of yours. Just get
me out of town, and up to the
mountains, and I'll give you what
Darby offered me: a 50-50 split.
Mulling it over, Dodge sneaks another peek out the window.
DODGE
What shape was Manco's sarcophagus?
LARA
Round. Like the sun.
Dodge nods, knowing this to be truth. After a long moment:
DODGE
I must be crazy as the rest of you
...50-50.
He extends his hand. They shake, holding onto each other for just a
little longer than necessary.
DODGE (CONT'D)
Oh, I almost forgot...
He goes to the curtained-off closet and slides out a small CARGO
CRATE.
DODGE (CONT'D)
This came for you today.
CUT TO:
CU - A CRATE
This 4x4 crate, marked "via messenger", is addressed to Lara Croft
care of Nathaniel Dodge. Lara uses Dodge's BOWIE KNIFE to pry the lid
off of the crate. We are:
INT. TRAWLER CABIN - NIGHT
While Dodge steers the trawler down the Napo without the benefit of
the noisy inboard motor, Lara digs through the excelsior-packed crate,
finding a neatly packaged (in brown paper and string) CHANGE OF
CLOTHES.
DODGE
How convenient.
Lara digs further, finding a small, portable REFRIGERATION BOX (used
for organ transportation.) Inside, cloaked in frosty air, Lara finds
an EGG AND PICKLE SANDWICH and a CARIBBEAN CRUISE BROCHURE with a
note: "Who knows, it might get hijacked. That could be fun. Love,
Karak."
DODGE (CONT'D)
You've got to be kidding me...
Lara bites happily into the sandwich.
LARA
Bite?
DODGE
Egg and pickles? Pass.
Lara puts down the sandwich and picks up the clothes.
LARA
Someplace I can change?
DODGE
Yeah. The master suite.
He jerks a thumb at a curtained area in the rear of the cabin. Lara
pulls back the curtain, revealing a grungy bunk and a rusty sink.
LARA
How charming.
Dodge waits for Lara to disappear behind the closed curtain...then he
grabs up the note.
DODGE
Who's Karak?
LARA (O.S.)
Oh, just the man I live with.
Dodge glances back at the curtain. The single light above the bunk
casts an enticing SILHOUETTE of Lara as she disrobes.
DODGE
Sounds serious.
BEHIND THE CURTAIN
Lara snuggles into a form-fitting Lycra top.
LARA
Quite. Karak's much older. Very
wise, very distinguished. Frankly,
I'm lucky to have him.
She's smiling, knowing how this must sound.
BACK IN CABIN
DODGE
I'm surprised he let you come down
here by yourself. I know I wouldn't.
LARA (O.S.)
And why is that?
DODGE
(after a beat)
I'd hate to miss all the fun.
Lara emerges from behind the curtain, zipping up her very flattering
new shorts.
LARA
Good answer.
Dodge gives her new outfit a once-over.
DODGE
I feel overdressed.
FLASHLIGHT BEAMS criss-cross over the trawler. Dodge ducks and pulls
Lara down with him.
DODGE (CONT'D)
Must be Malvern.
LARA
Hope you've got a plan B.
DODGE
I prefer to improvise.
CUT TO:
EXT. NAPO RIVER - NIGHT
Malvern and the Aussies stand on top of the sloping Napo banks,
FLASHLIGHTS searching the trawler, which drifts silently in circles.
MALVERN
Search it.
The two Aussies make running leaps from the bank onto the front deck
of the trawler.
MALVERN (CONT'D)
First one to find the girl gets five
minutes alone with her. Then I want
every cent she's cost me back in
blood.
REAR OF THE TRAWLER
Dodge and Lara float in the water, covertly lowering a crudely-carved
CANOE from the back of the boat. He whispers:
DODGE
Turn it over.
Lara is confused for a moment, until she sees: the bottom of the
canoe has been painted to resemble a log.
DODGE (CONT'D)
Fools the banditos eyery time.
Lara smiles, impressed.
BACK ON THE TRAWLER
The two Aussies make a mess of the cabin, finding Lara's crate and
clothes. Aussie #5 steps outside, reports to Malvern:
AUSSIE #5
They're gone, but they were here.
Unconvinced, Malvern shines his flashlight on the river, prompting the
two Aussies to do the same. One of the flashlight beams falls onto the
overturned canoe, which looks remarkably like a floating log.
UNDERNEATH THE CANO