ZigZag whips a pack of playing cards out of his sleeve. begins flicking through the deck, he says:
I HAVE POWER OVER PEOPLE THOUGH THEY MAY APPEAR COMPLEX. FOR ME, THEY FALL (fans the cards in a wide arc LIKE PLAYING CARDS _ over his head) AND I CONTROL THE DECKS!
The cards fly apart, but ZigZag deftly catches each one.
(catching the cards)
(catching the last card)
HA-HA! ! ! ! !
Cut to the One-Eye, his one eye slowly shuts. be considering.
He appears to
Mighty One-Eye: ZigZag:
MMMMMMMMMMMMMMMMMM. . .
UH . . . AHHA . . . HUM BUT ALL THIS IS NOTHING FOR NOW I N MY HAND (holding up his rucksack IS THE VERY KEY surrounded by a ring of _ green sparks) TO THE GOLDEN LAND!
ZigZag waves his great sleeve in an arc across his body, hiding the rucksack behind him.
(continuing) FOR NO MAN CAN TAKE IT NO MATTER HOW GREAT. .
. (pointing to the Mighty One-Eye) ('bursts of green smoke and electricity)
UNLESS HE POSSESSES
THESE THREE BALLS OF FATE!
The smoke clears and the three golden balls lie gleaming on a red carpet at the feet of the Mighty One-Eye.
HMPF! MAGIC! WHAT USE IS THAT IN THE FACE OF DEATH? (awful laugh) YOU SAY YOU CAN CHARM BEASTS?
ZigZag, hands clasped, half-bowing, smiles broadly and nods.
(awful laugh) THROW HIM TO THE ALLIGATORS!
Cut to the top of the tent where the smoke is rising through the vent. His own tail smoking slightly, Phido looks down, watching ZigZag being carried out. Do we detect a smile? Fade.
Fade in on the caravan, camped for the night at a beautiful desert oasis, a pool of water reflecting a crescent moon and stars, ringed by palm trees. The camel is parked next to the pool.
The camera moves in. We see the white and gold palanquin, resting on the sand. There is a white and gold tent pitched nearby with the Four Eunuchs asleep outside it. The Cobbler is sleeping in front of the door of the tent. Brigands lie all over the place, using each other as pillows and footrests, snoring and wheezing in a ragged chorus.
We hear the sound of the flies and the camera pans past the collapsed Brigands over to a sand dune where the Thief's head appears. He slowly crawls forward over the rim of the dune and starts downward toward the camp. Suddenly, the sand slides down with him and overtakes him, burying him with a hiss at the bottom. The flies hover over the mound. A couple of Brigands roll over, gouging each other, and making adjustments in their sleep. A hoof-handed Brigand by a small rock is talking in his sleep. The skinny book-marking snake comes out from behind the rock and listens to the Brigandls dream, winding himself around his arm in sympathy.
OH SALOME, HEH HEH, / WHEN I THINK OF YOU, SALOME IN ALL THAT SAND (laugh) EVERYTHING. . . AND YOU DANCING JUST FOR ME . . . THOSE LOVELY EYES (laughs) OH, SALOME, HAVE YOU GOT LOVELY LEGS. . . /' SALOME, I DON'T KNOW HOW TO SAY THIS (laugh) I WAS WONDERING. . . UH, HUH. . . IF, UH, WE COULD MEET SOME TIME. . . A . . . GAIN. . . (laughs) UH . . . UH . . . AND. . . I WOULD BE VERY NICE TO YOU. . . UH . . . AND YOU COULD BE . . . UH . . . VERY NICE TO ME . . .
UH . . . (laugh) UH . . . UH . . . UH . . . KINDA NICE IF WE COULD SORTA GO OUT SOME EVENING AND THE MOON WAS SHINING. . . Y'KNOW . . . HEH . . .
(continuing) YOU WEAR THAT NICE COSTUME. . . (laugh) . . . REMEMBER THAT COSTUME THAT YOU USED TO DANCE IN . . . (laugh). . . AND THROW MOST OF IT AWAY. . .HEH, UH. . .UH. . .AND. . .AND. . .THEN WE COULD. . . SORT A SPREAD IT OUT. . .(laugh). . .UH. . .UH. . . ON THE SAND. . . TALK. UH. . .WE COULD TALK. . . SALOME. . . COULDN'T WE? . . .ABOUT SOMETHING LIKE. . .UH. . .US. . . AND. . .UH. . .MAYBE WE COULD. . .KISS. . . MAYBE. . .(laugh). . .AH. . .AH. . . ITIS ALL A MISTAKE, I SUPPOSE. . . NEVER HAPPENED, I'M SURE. . . NO HARM IN DREAMING. . .(sigh). . .
Behind a group of sleeping Brigands, a thin, striped, upright tent edges to a saddlebag. It disappears inside the tent. The tent moves closer to a large water jug, which also disappears inside the tent.
Close up on the tent. The camera pans up it and where the little flag flies at the top, there is a halo of flies hovering.
Cut back to a longer shot of sleeping Brigands in the foreground as the Thief, inside the tent, travels along stealing any objects in his path.
The tent moves over to the pool of water and - SPLASHdisappears into it.
Cut to the bottom of the pool, the tent settled on the floor of it. There is a frantic wiggling from inside and a knife blade appears, cutting a hole in the side of the tent. We see the Thief's head, cheeks swollen with air. In desperation, he cuts another large chunk out of the side of the tent, which floats away, and we see that the Thief and the tent are pinned to the pool floor by the stolen goods. The Thief desperately cuts the ropes and thongs holding him to his booty. Cut to the top of the pool as bubbles rise, popping at the surface. The Camel, looking at the bubbles, is laughing - wheezing and heaving. Suddenly, the Thief pops up like a cork to the surface. Like a balloon, his coat is full of subsiding air, ringing him in bubbles as he sinks back under, the air no longer supporting him.
The Camel can't stand it. Chuckling, wheezing and heaving, he falls over on his back, helpless with laughter as the Thief claws his
way out of the pool onto the sand. Cut to a long shot of the camp as a golden ray of sunlight strikes the Cobbler's face.
The Cobbler blinks, wakens and suddenly jumps up. he stares in the direction of the light.
On the horizon, we see the Desert Mountain, clearly lit by the rising sun. I t looks I ike a giant golden arm extending from the desert to the sky.
The light reflects on the faces of the waking Brigands.
(awa ken ing)
AND ISN'T IT LOOKING GRAND?
All awakening now.
'TIS A MYSTERY. . . IT IS!
WELL NOW WHO WOULD BE PUTTING THAT UP THERE?
ISN'T THAT THE HAND OF GOD?
OATS A SIGN NOW. . .
THERE IT IS!
AND THERE IT WAS. . .
AND ISN'T IT LOOKING WELL?
NOW THAT'S GRAND!
ISNIT IT NOW BEGOD. . .
NOW THAT'S GREAT. . .
WILL YOU BE LOOKING AT THAT NOW? AND STOP YOUR GOING ON . . .
THAT'S A GRAND LOOKING SIGHT
LOW AND BEHOLDEN. . .
Eight alligators, lined up in two neatly-formed rows of four, jaws gaping. We hear ZigZag's voice:
MY FRIENDS. . .
Cut back further and we see ZigZag behind a pulpit-shaped rock with the alligators lined up before him like students.
(continuing) MY FRIENDS. . . IT GRIEVES ME TO SEE YOU ALL LIVING THIS WAY. . . FED ON PERSONS LIKE ME WITH
ZigZag pulls back his sleeve, revealing a very thin arm. few jaws snap with motor responses.
(continuing) YOU DESERVE SOMETHING BETTER! LIKE - THREE TIMES A DAY
Alligators snap their jaws:
snap snap drool snap.
. (continu ing) A SUCCULENT SOMEONE TO EAT. . . ?
All the alligators are getting excited, jaws snapping, and even biting each other a little.
(continuing) YES. . . (hands outstretched) WELL, 11M JUST THE FELLOW TO SEE THAT YOU GET ALL THE FLESH YOU WERE N EVER AFFORDED. . . JUST HELP ME A LITTLE. . . AND I WON IT FORGET TO SEE THAT YOU'RE AMPLY REWARDED!
(snap - snap - drool - slobber)
( continuing) IMAGINE THE ARMS! (snap snap) AND THE LEGS! (snap clamp snap) AND THE THIGHS! (snap drool slobber AND THE HIPS AND THE LIPS AND ALL THAT!
The alligators are beginning to jump around, getting out of ZigZag signals for them to stop.
(continuing) AND I GUARANTEE YOU EACH DAY A SURPRISE THAT IS PLUMP , PORTLY, PAUNCHY AND FAT!
The alligators go mad, snapping, biting the air, etc.
( shouting) FAT! FAT!
Dissolve as they leap up, biting each other and snapping in an ecstatic frenzy.
Dissolve to a close-up of the Brigands' feet, marching as the camera pans slowly along a line of them. Each foot has a shoe on if: of some sort, inventively made out of old braces and sacking. The Cobbler has been at work and, with whatever small means available, he has made rather stylish attempts at shoes. Even the peg-legs have little shoes on them. As they march, the Brigands all sing. . . different things.
Still on the feet, the camera travels down the line past the Eunuchs, the Camel and the Cobbler, whose own shoes, of course, are the worst of all. He stops.
Cut to a medium long-shot of the Brigands crashing into each other as the long line comes to a stop at the base of the Golden Idol.
(noises of crashing into each other)
Cut to Prince Bubba and the two Princesses, looking out of the palanquin.
Cut to the Golden I dol at the foot of the Desert Idol is circled by armed guards, protectors of the Ruby. indifferently at the arriving party.
Mountain. The They gaze
Cut to a medium close-up of the Cobbler, studying the whole
Cut to the Desert Mountain from the Cobbler's point of view. the base of the Mountain (which goes straight up), there is only some brush and undergrowth of vines and small trees. The sides of the
Mountain are flat.
The Mountain is entirely made up of interlocking
rocks shaped like hands.
The camera tilts enormous pillar reaching Mountain, steps wind up them from the ground.
upward and the Mountain looms above us, an into the noon sky. A third of the way up the one side. But there is no visible way to reach
Cut to a sand dune and, again like Kilroy, the Thief appears over the edge. He is exhausted. Suddenly, his eyes widen and his pupils fill with the Ruby.
Cut to the Ruby, gleaming in the forehead of the idol. There is a mystic darkening of the Idol and the Desert as the Ruby begins to glow.
Cut to the Cobbler, Prince Bubba, the two Princesses, and Chief Roofless, looking up.
Cut to the sun, gleaming.
Cut to a long shot of the side view of the idol, facing the Mountain, the Caravan and Brigands down below. A barely perceptible ray of light from the sum beams vertically on to the Ruby. A facet of the Ruby glows and beams a ray of light, like a laser, against the Mountain wall.
During all this, there is a single line of eerie, high~pitched music indicating the sun as it reaches its zenith.
Hidden doors in the side of the Mountain wall slowly part,
revealing a staircase inside.
The Brigands whisper, awestruck:
IT IS POWERFUL MAGIC!
AYE, AND INDEED AND IT IS! IT IS THAT!
TO BE SURE AND IT IS!
'TIS MAGIC FROM ANOTHER WORLD. . .
ANOTHER TIME. . .ANOTHER PLACE. .
AYE, MAYBE SOME OTHER TIME
I'LL BE MAK ING MY OWN ARRANGEMENTS. . .
All of the Brigands begin to tiptoe away.
The Palanquin, led by the Cobbler, moves toward the door of the Mountain. Bubba looks fearfully, one eye peeking out from behind the palanquin curtain, and whimpers:
I'M SCARED. . .
THERE THERE BUBBA. . .
As the Palanquin disappears into the Mountain, Princess YumYum's voice is heard, hollering back at the hesitating Brigands:
THE ROYAL GUARD WILL PROCEED!
ER. . .AH. . .THE ROYAL GUARD. . . WILL. . . PROCEED!
Sgt Hook: Brigand:
AYE, PROCEED THEN. . .
Reluctantly, the Brigands begin to shuffle in.
DON'T BE LISTENING TO THE OLD BIDDY!
COME ALONG NOW LADS, COME ON. . . WE MUST TRY! TRY WHOT?
SHE'S GOIN' IN THERE NOW LADS!
WOTS SHE GOIN' IN THERE FOR?
YOU GO FIRST AND WEILL FOLLOW YOUS! AFTER YOU. . .
NO, NO, AFTER YOU. . .
AGE BEFORE BEAUTY!
MAY THE SAINTS PRESERVE US! NOW I LAY ME DOWN TO SLEEP. . .
(voice off) COME ALONG NOW YOU MEN! MEMBERS OF THE ROYAL GUARD!
'TIS THE DEVILS CAVE ITSELF!
AYE, THERE'S GOT TO BE AN OPENING SOMEWHERE. . .
GOD SPARE US. . .
NOW YOU'LL BE GOING FIRST! AND WE WILL FOLLOW AFTER YOU YOURSELF!
I'LL BE COMING AFTER YOU. . .
AND WE'LL SEE YOU AT THE OTHER END NOW. . .
Cut to the Thief, who is oblivious to everyone going inside. He only has eyes for the Ruby set in the forehead of the mammoth idol. is surrounded by silent guards. The Thief works his way around the base of the idol, searching for a way to get past them. There is none. BAM! H is head hits a sign barring his path.
Cut to the Thief's head in close-up, reverberating. The sign says, "STOP". The Thief jerks his head away and bangs it on another sign, adjacent to the first. It says: "NO PRAYERS PAST THIS POINT."
(Every sign in this picture is written in English, Arabic, Japanese, Chinese, Russian, German, French, Italian, Spanish and Swedish; letters are written in the graphic style of each language.)
Cut to a front shot of the Thief, backing away from the guards and Idol, his eyes still focused on the Ruby. Behind him in the neardistance, the last of the Brigands enters the Mountain and the doors close.
The Thief backs through a turnstile, in the shape of an arrow I pointing the way out. The Thief continues backing away from us, transfixed, toward the now blank wall of the Mountain.
SEQ. 10. 1.
Cut to the Cobbler's party - Camel, palanquin, Eunuchs, Princesses and Prince, followed by Roofless and his men - coming out of the tunnel onto the open steps on the side of the Mountain pinnacle. They are all agog and proceeding gingerly, the Cobbler leading.
The steps are very narrow and it is only just possible to move the palanquin along.
Chief Roofless and his men are flattened against the wall of the Mountain, inching along sideways, though there is at least six feet between them and the edge of the cliff.
CAREFUL, MEN. . . DON'T GET TOO NEAR THE EDGE. . .
AYE. . . THE EDGE. . .
AND ISN'T IT LOOKING WELL!
DON IT LOOK DOWN!
DON'T LOOK UP!
MAKE YOUR OWN ARRANGEMENTS. . .
SAINTS PRESERVE US!
NOW I LAY ME DOWN TO SLEEP. . .
Cut to the palanquin. The steps are steep and narrow and it is difficult to move the palanquin along. Prince Bubba peeks out on the cliff side.
Cut to Bubba's vertigo view of the drop.
Cut to Bubba, wincing.
B ubba :
THERE. . . THERE BUBBA. . .
MeeMee hugs him and both disappear inside.
YumYum peers out.
Cut to a long shot of the Cobbler's party climbing the steep stairs up the side of the Mountain.
Cut to an extreme close-up of the Thief's foot against the vertical side of the Mountain. Pull back, and we see the Golden Idol below and the full figure of the Thief, who is making his way up the impossible slope, like a fly climbing a wall.
Cut to a long shot showing both sides of the pinnacle, the Cobbler's on one side, going up the dangerous stairs - the Thief, on the side, doing it the hard way.
The music here becomes Wagnerian
Parsifal and the Holy Grail.
Cut back to see the full Mountain pinnacle, except for the very top, and we see how fa r they have yet to go.
Cut to the Prince, peeking over the side of the palanquin, the two Princessesl heads below him.
Cut to the Princels vertigo point of view, looking down the sheer a double image shifts back and forth.
THERE. . . THERE BUBBA. . .
Both MeeMee and Bubba withdraw back inside the palanquin, leaving YumYum looking out.
Cut to a medium long-shot of the Cobbler, struggling on at the front. He looks back at YumYum, who smiles at him, and his tacks form into a smile back at her. His foot slips and he grabs the Camel's foot as he goes over the edge. The Camel, without breaking the rhythm of his pace, steps the Cobbler back onto the narrow stairs.
Princess YumYum clasps her hands to her head and withdraws into the palanquin. Princess MeeMee, frowning, pokes her head out and says to the Cobbler:
CAN IT YOU FIND A SAFER WAY UP THIS MOUNTAIN?!
The Cobbler turns around, sees MeeMee glaring at him. His tacks droop and he walks backwards, slipping again over the side, barely managing to catch the Camel's foot. Again, without breaking his pace, the Camel's foot pulls the Cobbler back onto the path.
Cut to a close-up of the Camel, raising his eyes to heaven.
Cut to the Thief - several shots of him slipping, sliding, working his way ever upwards. As he reaches up to claw his way another few inches, we do a slow dissolve to:
The steep, dark walls of a pit. We see ZigZag, in exactly the same position and size as the Thief, only he is climbing up an alligator ladder. The alligators are on top of each other, their backs against the wall of the pit, their short legs extended like stairs, each holding on to the next by clamping his jaws on the tail of the one higher up. ZigZag makes his way gingerly past their jaws.
OH! EXCUSE ME! I HOPE YOU DON'T MIND. . . OH! I'M SORRY. . . YOU'RE VERY KIND. . . WON'T TAKE LONG NOW. . . . . .SOON BE THROUGH. . . THAT'S A GOOD FELLOW. . .
(continued. . . ) OH! HOW DO YOU DO! SPLENDID! SPLENDID! OH! PARDON MY CLUTCH! I THANK YOU. . .1 THANK YOU. . . I THANK YOU TOO MUCH. . . !
Very slowly dissolve back to the Thief, climbing, climbing. Several shots. Medium long-shot as he approaches a ledge above him which has two banana trees just visible atop it.
The Thief slips and slides as he works his way around toward the ledge.
Cut to the top of the ledge. The flies appear, followed by one hand, then another, then the Thief's head. He drags himself up onto the flat surface, wheezing and gasping.
He gets to his feet, tries to walk forward, sways dizzily around, then, determined, walks over a slight curve, past the banana trees, to the edge of the ledge, where he looks down.
Zoom out and we see the tiny ledge with the Thief, three quarters of the way up the Mountain. On the other side, the Cobbler's party, tiny dots, continue to climb.
Cut to the Thief's far below.
lookina down, and we see the tiny Idol,
Cut back to the Thief, hanging over the ledge. He turns his head, looks at the banana trees with their large yellow leaves, and turns back and looks again down at the Ruby. The Thief then gets up and goes to one of the banana trees and breaks a huge leaf off it. As it snaps off, he runs backwards, almost going off the edge. Little bits of rock crumble off behind him. Without taking notice, the Thief lays the leaf down on the ground and goes over and breaks off another large leaf.
The Thief inserts this second leaf into his sleeve, punching his fingers through and grabbing the ribbing of the leaf. He repeats this in his other sleeve with the other leaf. Adjusting what are clearly his "wings" now, the Thief turns around and walks resolutely to the edge.
The camera cranes over the top of him and down, down, down
to the Idol below, ending in a !=Iose-up of the Ruby.
Cut to the Thief's eyes in close-up, focussed cross-eyed on the He blinks.
Pull back and the Thief crouches, wings folded like a fly. spreads his wings dramatically and hops over the edge.
Cut to the Thief in mid-air, hurtling downward, flapping frantically. He can It understand why it isn It working. As the increasing velocity pins his wings behind him, he nosedives head first downward.
Cut to a shot below the Thief in the distance the camera.
he zooms toward
Cut to the Thief's view of palm trees and ground rushing up at him. The stone floor around the Idol comes up to camera lens, and, about six inches from where the Thief's face would be, it pans past at terrific speed.
There is a craning shot of the back of the Thief's head as his wings come forward slightly, and we see him zoom past - one half inch above the spear tips of the I dol guards - and, of course, past the Ruby.
Cut to the Thief's view of more stone tiles, flashing past below us. Then the palm trees rush from top of screen to bottom and we rise to the blue sky.
Cut to a medium long shot of the Thief, looping the loop.
Cut to the Thief, gliding. He's really flying.
He is in a state of shock
He looks back at his wings and leers. for control. Now, full of confidence, he banks gracefully turns back toward us, heading in the
He rocks slightly, testing away into the distance and direction of the Ruby.
Now he has things fully under control and he brings his wings forward like a breast stroker, and gives himself added propulsion, his flies breaking formation and regrouping, every time he strokes forward.
Master of the situation, the Thief turns to camera and poses CRASH - he hits the side of the Desert Mountain.
The wing-leaves are shattered and he's left, clutching the broken remnants, as he slides out of frame, flapping desperately.
Cut to a top-shot looking down at the Thief as he slides down the side of the Mountain, beating what is left of his wings against it.
Cut to very steep steps. We are looking down the steps at the Cobbler, who is climbing with difficulty up toward us. Behind him lurches the palanquin, carried by the Eunuchs. Behind them, the Camel. And below, the line of Brigands, still flattened against the Mountain wall.
steps. Pri nce