the original script

here's the second part:

I shall have found the answer
to the one great question we both are asking: WHAT IS LIFE ETERNAL?

He goes into a climactic arpeggio.

CUT TO:

42. INT. BIDERBECK'S - BIDERBECK AND TROUT - DAY

Where Bruno lay, his outline has been made by chalk, even to the neat
little protuberances at each ear where the snake entered and exited. A
male POLICE ASSISTANT is walking about the room making notes in a
notebook, but our interest is concentrated on Biderbeck, who wears a
sweater and slacks, and on INSPECTOR TROUT, who by a fortunate
coincidence has been assigned to this mysterious death.

TROUT
...And you say the room was exactly as you left it five hours
before? Except for finding--
(checks notebook)
--Mr. Bruno as indicated - and only "one other item" missing?

BIDERBECK
(with some irritation)
That's exactly it, Inspector Trout, and while Bruno's death is
unfortunate, I can tell you that it's much more important to find
that papyrus!

TROUT
But why should a thief come into a house like this, bulging with
priceless treasures of art...eliminate your personal guard...and
take only one such item?

BIDERBECK
That's for Scotland Yard to find out!

TROUT
But sir, a homicide takes precedence over burglary--

BIDERBECK
I think your superior might differ, Trout! I can make a call or
two and the Home Office will certainly differ! The poor bugger's
dead! Nothing will help him! But I need--

Trout brings into view the golden snake.

TROUT
A most unusual weapon. When you think what accurate aim, what
velocity--

BIDERBECK
Inspector, I told you that Professor Ambrose, Miss Trowbridge and
I are sailing Tuesday on the Empress of Quebec to go out to Egypt
to meet the other members of the expedition, and come hell or
high water or golden snakes or homicides, we're going to be on
that steamship! And in the meantime some fool is wandering around
with a papyrus who has no idea of its value! A papyrus I need!

TROUT
Yes, sir. Now what value do you place on it?

BIDERBECK
"Value"?...A lifetime of work...and treasure beyond your fondest
dreams!

TROUT
(writing it down carefully)
"...A lifetime of work...and treasure beyond--"
(he stops)
You don't say, sir. Hmm.
(shoots him a look)
I see. Another thing, Mr. Biderbeck.
(shows him snake)
I've noticed several of your...items...among the decor of your
library here--including snakes...Anything significant in that?

BIDERBECK
In the Egyptian religion, the snake is a symbol of eternal life.

On Trout's look,

CUT TO:

43. INT. CRYPT ROOM - PHIBES & VULNAVIA - NIGHT

Phibes is in the old 'SHRINE ROOM.' He deftly reaches for a secret
button concealed in the marble surround.

Now we hear a deep rumbling, grinding sound coming from the bowels of
the earth as gigantic motors come into play, struggling to lift the
great stone slab. The COFFIN LID starts to rise.

Close up on Phibes as he looks down at his lovely wife VICTORIA - his
eyes brim with emotion.

Close up on VICTORIA. She is truly beautiful and quite perfectly
embalmed.

Phibes climbs slowly into the satin-lined sarcophagus and looks up. We
hear the sound of a small winch and four slim gold chains drop lazily
down into the SHRINE. Phibes takes the chains and looks back to receive
an exquisite hammock heavily embroidered with silk and gold thread.

CUT TO:

Carry winch sound FX over to

44. LONDON DOCKS (STUDIO LOT) - NIGHT

A small floodlit area of the quayside. A number of large crates are
stacked - each marked with a bold stencil -

'Biderbeck Archeological Expedition - Alexandria/Cairo'

BIDERBECK stands and watches as TWO DOCKERS rope up another crate ready
for the crane.

He watches their every move, paying attention to each knot and hook.
Some crates are marked "Not Wanted on Voyage."

CUT TO:

45. MALDINE SQUARE - STUDIO EXT. - NIGHT

Once more we see the familiar ROLLS ROYCE.

This time however - we see - hitched up behind the ROLLS:

46. THE MOST MAGNIFICENT CALLIOPE

A mobile steam organ built on the lines of a fairground trailer. This is
not a mere mechanical organ, but has incorporated into it various
devices like snare drums, tambourines, trumpets and clarinets. Miniature
mechanical men appear to be playing the instruments themselves. The gold
and silver and scarlet paints are most elaborate and delightful.

Phibes walks to the central section of the calliope, a section enclosed
in glass. Behind it, with Phibes, we see the top of Victoria's coffin.
Phibes pulls a drawstring, and curtains slide down to hide her from
view. Phibes then checks:

47. INSERT AT DIALS

A series of controls, dials, valves, registering Temperature/Humidity.
All well there.

48. WIDER ANGLE - PHIBES & VULNAVIA, ROLLS AND CALLIOPE - NIGHT

With Vulnavia at the wheel, the caravan moves off.

49. EXT. NIGHT - A STEAMSHIP UNDER WAY (STOCK) - NIGHT

The whistle blows.

50. INT. PHIBES' SHIPBOARD CABIN - PHIBES AND VULNAVIA - NIGHT

We are CLOSE on a portable Victrola, which Vulnavia has just set to play
an appropriate 78. ("Dardanella"? "Hindustan"?) Phibes plugs himself in,
thus to speak to her, as he then REVEALS that the cabin has been set up
partly as a place to continue research. Maps, sketches... and the
papyrus.

PHIBES
At last we are under way, Vulnavia...and as we steam toward
Egypt, I am sure that I shall decipher perfectly all I need to
know about reaching the greatest sarcophagus of all...and with it
the key to life eternal!

Vulnavia shows she eagerly awaits such confirmation.

PHIBES
I must talk to my own Victoria in her resting place below...shall
we meet in this cabin within an hour?

She smiles agreement. She wraps herself up in a fetching shipboard
ensemble, takes a last look at the Egyptian documents, and exits...as
Phibes is disconnecting himself from the 78 [sic - Victrola].

CUT TO:

51. INT. BIDERBECK'S SHIPBOARD CABIN - BIDERBECK AND DIANA - NIGHT

Biderbeck is also at work in his handsome cabin, papers strewn about a
desk...maps...photographs...a well-used crocodile attaché case fitted
out with places to hold pens and ink, pencils, compasses, a small
telescope -- the tools of the explorer. He crumples up a paper and
discards it, starts again.

From the adjoining cabin, through a closed door, Diana appears, dressed
to attract. She watches her lover a moment...and only when she closes
the door with a click is he aware of her. She comes to him. With
affection:

DIANA
Can't you stop for a few hours, Jonathan? I worry about you.

BIDERBECK
I do neglect you, don't I? Forgive me...

DIANA
But why must you? It seems all my life--ever since I was put in
your care after that horrible accident--you've been
searching...When I was ten, you were off to China...that year in
India, when I was fourteen--

BIDERBECK
But this time at least we're together--

DIANA
But why? You have honors enough for a dozen men--wealth...Yet
you're always seeking something that seems to elude you--at times
you're so mysterious...

BIDERBECK
(an odd tone)
I? "Mysterious"? I have my work--I have responsibilities to you--

DIANA
But no one knows you, Jonathan...not even I--I really don't know
anything about you before you came into my life--Not even when or
where you were born--

BIDERBECK
(too casually)
What difference do dates make? Do we feel any different toward
each other merely because I'm...a few years...older? Of course
not--

She picks up an old photograph among his records. We don't see it too
clearly--it's a group of men amongst Grecian ruins.

DIANA
But a girl is curious, that's all...I mean, I don't even have a
photograph of you...There aren't any...Just this sort of thing,
taken on expeditions. Why, this must have been taken before I was
born.
(puts it down again; casually)
How do you do it, darling? You don't look a day older there than
today.

BIDERBECK
(with a smile)
You keep me young.
(then)
But you're right. I am neglecting you. And I'm sorry. Why don't
you take a couple of turns around the deck and I'll find you and
we'll go into the salon and I promise not to talk about anything
except the girl who's with me.

She gives him an affectionate gesture - perhaps a peck on the cheek -
and goes out, saying,

DIANA
I give you ten minutes--no more.

She exits.

CUT TO:

52. EXT. DECK - VULNAVIA - NIGHT

Vulnavia is taking a stroll along the deck. A COUPLE pass the other way.

53. DIANA

- rounds a corner on deck, going opposite to Vulnavia's direction.

54. VULNAVIA AND DIANA

INTERCUT their approaching each other, eyeing each other with polite
curiosity, these two young, well-dressed girls apparently of the same
social station, each at the moment alone. Their eyes lock--they will
remember each other--but they are too well-bred to speak.

CUT TO:

55. INT. BIDERBECK'S CABIN - BIDERBECK - NIGHT

A clock prominently in view reads the exact moment of 8:00 and strikes
eight times. At the first stroke, Biderbeck checks the time, then moving
quickly to the outside door locks it, and also locks the door leading to
Diana's cabin.

From somewhere out of sight he retrieves a good-sized, unique carrying-
case, which seems to have been around the world more than once, with
ornate brass work and locks. This Biderbeck unlocks. From it he takes a
smaller case, also unique and intriguing, which he unlocks. He sets it
on his table, opens it, and from it takes two handsome vials, which
might be centuries old, of some unknown period.

A gold spoon is part of the inner equipment; he pours three carefully-
measured drops from one vial into it, carefully stoppers it, then pours
three precise drops from the other vial. He looks into the colorful
depths of the liquid, then deliberately swallows it.

He then takes a notebook from the case, and opens it. Though small in
dimension, it is very thick. He turns the pages--all with entries--until
he comes to the last page.

56. INSERT LAST PAGE OF NOTEBOOK

The previous entry reads: "Elsinore Castle - December 31, 8:00 P.M.
Administered 6 drops."

57. BACK TO SCENE

He notes that this is the last page of the book. He replaces it in the
case; he looks at the vials against the light. They are almost empty.
Biderbeck catches sight of himself in the mirror, and looks at it as if
it might hold some kind of an answer.

There is a loud knocking at the cabin door.

Quickly Biderbeck replaces everything, the items in the little case, the
little case in the big, and he puts it all out of sight before he
crosses to the door and opens it to reveal Ambrose.

BIDERBECK
Ah, Ambrose! Just the man I wanted to see! All squared away?

AMBROSE
Perfectly. And we're invited to the Captain's table, I hear; care
for a whisky first?

BIDERBECK
We have time...I was working on a new theory about approaching
the interior of Ibiscus...you know, all but one or two of those
corridors are meant to mislead, of course, and I was thinking if
we entered from the south--
(breaks off)
I'll show you on the model - should we go to your cabin - ?

AMBROSE
Oh, I'm afraid I had that put in the hold, old boy, didn't
realize we'd be so occupied, matter of fact--

BIDERBECK
I'll ring the steward to--

AMBROSE
Wouldn't think of it...He wouldn't know what to look for...Be
back in a jiff, old boy, might order me a whisky and splash in
the meantime, if you don't mind...

Ambrose goes to the door. He stops.

AMBROSE
Must say. This whole thing means a lot to you, doesn't it?

BIDERBECK
(smiles)
You might say it's my whole life.

CUT TO:

58. INT. SHIP'S HOLD - CLOSE ON CALLIOPE - NIGHT

We can see Victoria's lovely face for an instant--before Phibes lowers
the curtain over the glass. As ANGLE WIDENS, we realize that Phibes has
been looking in--admiring her lovingly.

The Calliope is secured next to the Rolls. Around them are CRATES and
typical bits of CARGO.

AMBROSE'S VOICE (o.s.)
I'm sorry to put you to so much trouble, Officer...

OFFICER'S VOICE (o.s.)
No trouble at all, sir...Wonder if the box might be over here?

Phibes is taken aback--he has no time to do anything more than fade into
the SHADOWS.

59. ANOTHER ANGLE IN HOLD - AMBROSE AND OFFICER

Ambrose and an OFFICER are looking about the boxes, etc.

60. PHIBES

- watches them like a hawk.

61. AMBROSE AND OFFICER

The Officer points out a huge mass of stuff covered with a TARP.

OFFICER
Now they just might've been stowed in here--

He throws the tarp back to reveal what seem to be several BUSTY
GIRLS...but they are only advertising cutouts. The girls are all
hoisting glasses of gin drinks, and they are surrounded with some
advertising SIGNS: "MULHOLLAND'S GIN IS MY GIN!"..."HAVE A GIN WITH
GINGER!"...and such. A couple of the signs are in ARABIC and TURKISH--
for use in the Middle East.

Established are many sizes of BOTTLES for display, ranging from magnum
size to absolutely gigantic.

AMBROSE
(chuckles with the Officer)
No, it's another kind of model I'm looking for...

They move on to another area where are seen some of the boxes from the
dockside, with the name Biderbeck visible.

AMBROSE
Look here, Officer, I know you have other duties...It's bound to
be in amongst these--

OFFICER
If you're sure, sir--I can easily--

AMBROSE
No, no, I insist...Thank you and goodnight.

OFFICER
As you say, sir.

62. PHIBES

- watches the Officer leave...within a few feet of where he is hiding.

63. AMBROSE

- rummages about and finds what he wants.

64. PHIBES

- sees all the gear, its identification, its destination.

65. PHIBES

- does not like this. Then he likes something else infinitely less, as
his eyes follow Ambrose to...

66. POV. TOWARD AMBROSE

He catches sight of the calliope. Stops. Is intrigued. Looks in and
about and smiles in amusement. Then he notices the glass partition...
and that the curtain has not fully closed. He looks closer.

67. PHIBES

My God! He must have seen Victoria!

68. AMBROSE

- has actually pulled the curtain! And he puts his hand to the glass
the better to see, and he realizes that it is unnaturally COLD! His ears
pick up the HUMMING sounds. He is now curious indeed. He moves to the
dials and gauges. He seems those indicating Temperature and Humidity.

Damned odd.

AMBROSE
Damned odd, what?

He moves over to see Victoria again, moving CLOSE to the CAMERA.

Suddenly his eyes bulge and he tries to utter a cry for help but he
cannot. ANGLE WIDENS to reveal a vengeful Phibes placing his Sleeper
Hold!

CUT TO:

69. INT. BIDERBECK'S CABIN - BIDERBECK - NIGHT

He has quaffed half his own whisky and a full one awaits Ambrose's
return. Biderbeck is surprised it's taken this long. The cabin door
opens.

BIDERBECK
I was also wondering, Ambrose--

He stops as he realizes it is Diana.

DIANA
It's not dear Professor Ambrose, and you two aren't talking
archaeology, you're going to keep your promise to me.

BIDERBECK
You're right, dear, absolutely. Coming straightaway.

He downs his drink - glances at the clock - exits with her. She happily
takes his arm. But Biderbeck is a bit concerned...for an instant.

70. EXT. DESERTED DECK OF SHIP - PHIBES - NIGHT

An observer could not discern what it is that Phibes is engaged in, and
no doubt it is best that he could not, but obviously it requires the
strength of ten men.

He lifts a burden up...throws it...and four seconds later there is a
mighty SPLASH and then the mournful BLAST of the ship's whistle.

Is that a laugh we also hear on the wind? In a twinkling the menacing
silhouette of Phibes turns from the rail and is gone.

CUT TO:

71. EXT. SHIP'S WAKE - NIGHT (STOCK)

The wake is seen on the dark night sea. Nothing else.

CUT TO:

72. INT. CABIN - BIDERBECK AND CAPTAIN - NIGHT

(When we do se a clock in this scene, it reads 11:47 GMT).
A Biderbeck reaching the end of his patience is talking to a CAPTAIN of
the old school and proper uniform. A young ENSIGN stands close at hand.

CAPTAIN
But don't you think we should make one more circle, Mr.
Biderbeck? After all, sir--

BIDERBECK
No need at all, Captain! Professor Ambrose is a fine swimmer! Man
half his age! You said yourself we're in the main shipping lanes-
-if he did fall overboard, which I consider most unlikely-- he's been
picked up by now!

CAPTAIN
But sir, a matter of a few hours more or less--

BIDERBECK
(evenly)
Could be priceless. You can't imagine how important.

CAPTAIN
(attempt at a quip)
Those pyramids and sphinxes have been out there quite a while,
they'll still be there--

BIDERBECK
Captain, Professor Ambrose was in my employ, I can speak for him,
he would want us to proceed full speed and stay on schedule, and
I insist we do so.
(a pause)
Or must I send a wireless to Sir Malcolm Fraser, your Chairman?

CAPTAIN
(swallows, looks at Ensign, looks at Biderbeck)
As you say, sir. Very good, sir. Original heading toward
Gibraltar. Full speed ahead.

He starts out. Then stops at the door which the Ensign holds open.

CAPTAIN
We'll continue to thoroughly search the ship, of course...As a
point of interest, Mr. Biderbeck...Did Professor Ambrose--how
shall I put it?--very often "touch the bottle?"

SMASH CUT:

73. CLOSEUP - TROUT - NIGHT

TROUT
Then how the hell did he get in there?

74. EXT. BEACH AREA - TROUT/AMBROSE/COASTGUARDSMEN - NIGHT

One of the huge Mulholland Gin bottles bobs upright in the surf,
outlined by the headlights of a POLICE CAR on the beach. Some
COASTGUARDSMEN are engaged in easing it to shore. They wear oilskins.

Inside the bottle is Ambrose. A huge cork serves its purpose.

The bottle is brought ashore. Trout ad libs the proper advice indicating
he will take charge henceforth. The men are amazed at what they see.
Trout works the cork out with both hands. He looks down inside.

TROUT
I am a Police Officer, Sir--

His voice ECHOES in a ghastly fashion. Ambrose does not stir. Trout
looks to the others.

TROUT
Bought it. Get him out. Careful. Watch for flying glass.

The Coastguardsmen begin to do so, o.s., while one Coastguardsman stays
to speak to Trout:

COASTGUARD
Soon as I spotted it, thought I'd better call the authorities,
sir...Never seen anything like it. How do you suppose he crawled
in, sir?

TROUT
He didn't crawl in...he was put in.--Dead thirty-six hours, I'd
say.

COASTGUARD
(reacts)
You don't say! -- What sort of madman would do such a thing?

75. CLOSE - TROUT

He looks off, also wondering WHAT SORT OF MADMAN? Then he looks to
Ambrose o.s. Trout begins to think.

CUT TO:

76. EXT. DESERT THE PHIBES CARAVAN - PHIBES, VULNAVIA - DAY

Establishing.

(PRODUCTION NOTE: Use of plates or alternatives to be determined.)

77. EXT. DESERT - PHIBES, VULNAVIA - WITH ROLLS AND CALLIOPE - DAY

They have stopped for their midday snack. An umbrella has already been
set up. While Vulnavia is busy at the calliope, opening its cargo doors,
Phibes has just started to utilize his famous BRIAN WORMSCREW, an item
about four feet long, it appears, and about eight inches in diameter.
Phibes sticks its sharp point down into the sand, then unlocks the
handles at the other end. These handles are golden, and for decoration
are in the shape of two jackals' heads. By turning he handle, the s

out--

BIDERBECK
You and Shavers are two of my best men, Hackett. That's why I
trusted you both out here before the main party. He can take care
of himself. I'm not worried.

HACKETT
Frankly, I am, sir.

BIDERBECK
(scoffs)
The curses against anyone who defiles a Pharaoh's tomb?

HACKETT
No, sir, it's just that the more you live in the desert, the more
ways you find you can die in the desert.

Stewart enters...

BIDERBECK
Ah, are we all here now? Well, then...My first and only "formal"
speech. Tomorrow all of us begin what I know will be the
most...satisfying...work of our lives. I know we shall succeed--
succeed beyond your wildest imaginations. Let me show you what
we're going to be doing on this model, and we'll go out for a
quick reconnoiter before nightfall.

He moves toward the scale model, now set up beautifully on a separate
table. As CAMERA MOVES INTO IT...

CUT TO:

112. EXT. LONG SHOT - THE MOUNTAINS THEMSELVES - ESTABLISHING

CAMERA MOVES INTO the real mountains.

113. INT. PHIBES LIVING QUARTERS - PHIBES & VULNAVIA, VICTORIA

114. PRODUCTION NOTE: SCENE TO COME AFTER DISCUSSION WITH R.F. AND
A.F. THE SILENT ACTION WILL INCORPORATE THE STORING OF THE ROLLS
AND THE CALLIOPE AND THE BRINGING INTO THE CAVE THE BODY AND
CASKET OF VICTORIA.

115. INT. PHIBES "MOON CLOCK" ROOM - CLOSE ON MECHANISMS

In a separate area of his quarters, Phibes has set up his research lab,
the principal feature of which is what we shall call a "Moon Clock."
This ornate panel, beautifully adorned with ancient and contemporary
devices, features the signs of the Zodiac, the Planets in the heavens,
the Sun and the Moon. There are definite similarities in style between
all this and the lid of the crypt in Maldine Square, with its heavenly
bodies.

One important feature is a "window," like the part of a dial of a
calendar-watch, which shows numbers in decreasing order (like a
countdown). In fact, even as we watch, the number "8" is slowly passing
from view and "7" is taking its place.

Now ANGLE WIDENS TO REVEAL...

116. PHIBES AND VULNAVIA

He is at work at charts, diagrams, hieroglyphics and the papyrus.
Vulnavia is bringing several ancient fragments of Egyptian wall-
paintings to him, obviously on request, and as she puts them
conveniently nearby she dusts them off with an Egyptian fly-swatter made
of a horse's tail. He looks up at her and "says" something, but there is
no sound.

Whereupon Vulnavia smiles, picks up his throat jack, and plugs it into a
convenient socket.

PHIBES
Thank you, my dear.
(indicates fragments)
Now let me show you. I am now convinced that the modern world has
no knowledge of this great complex of tombs because the ancient
Egyptians diverted many underground rivers to flood them...

Obviously we are INTERCUTTING INSERTS of the panels, showing blue waters
covering sarcophagi, people, etc., and in a subsequent panel being
several feet lower.

PHIBES
...but if my calculations are correct, once in every five hundred
years. When the moon and the sun are in proper conjunction, the
waters will drop...and flow into the magical River of Life...at
the end of which lies the last supply of this Elixir--
(he indicates a picture of a vial)
--which has the power to restore life! AND to maintain it!

Vulnavia is wide-eyed with interest and excitement. Phibes indicates the
Moon Clock.

PHIBES
Seven more days remain to find the tomb of Amenophis, and with it
the key...and we must be there...this year--this week--to be
carried on the bosom of the River of Life!

She nods assent.

PHIBES
And nothing--nothing!--shall stop us!

SMASH CUT TO:

117. EXT. BIDERBECK CAMP (2ND UNIT) - TRUCKS - DAY

A vehicle is pulling out of camp...and up angle sort of thing, perhaps,
demonstrating speed, power, a threat. When the vehicle has cleared, we
see several Arabs listlessly going about their business.

118. BIDERBECK AND DIANA IN VEHICLE (PLATES) - DAY

(Other characters in view ad lib.) They are moving off to the Great
Adventure!

CUT TO:

119. INT. PHIBES CORRIDORS - CLOSE ON "MAP"

Whether it is one of the wall fragments itself, or a "map" of cross-
section of tunnels, not unlike a rendering of Biderbeck's own model, or
a sketch made by Phibes himself...it is some kind of rough guide to the
interior.

ANGLE WIDENS to reveal...

120. PHIBES AND VULNAVIA IN CORRIDOR

She holds a light for him as they explore a corridor. Minor artifacts.
Paintings. They make a false move, reach a dead end, retrace their
steps. Now he is baffled...but by consulting the guidebook, Phibes
locates a loose stone, moves it...and is then able to swing open a
camouflaged entrance to another corridor, accessible only if one stoops
low...

121. SMALLER CORRIDOR - PHIBES AND VULNAVIA

This corridor is dripping wet. This fact seems to elate Phibes. They
continue on...coming upon a skeleton, prone, a spear and shield by its
side. Cobwebbed...perhaps a SPIDER scurries away. They move on.

They must go down a slightly inclined ramp. Dangerous footing. Wet.
Suddenly, the sound of rushing waters above their heads. They look
up...look at each other. As they continue down, they seem to be passing
under a stream above them. The water dies out.

Now they must splash across a two-foot stream of running water, which
seems to be coming from nowhere in the bowels of the mountain and
running out to areas unknown. Once across this, the way lies up a ramp.

122. REVERSE RAMP - PHIBES AND VULNAVIA

--coming up. They continue on, anxiously. They come to a blank wall...
wet with condensation. Phibes feels around the cracks where the stone
blocks meet. He takes out a small tool and starts to tap. Something
moves. He taps away stone to get a finger-hold...and moves the block.
With superhuman strength he pulls it away...revealing an entry large
enough to walk through!

123. INT. SARCOPHAGUS ROOM - PHIBES AND VULNAVIA

They come into the Sarcophagus Room, with its Golden Sarcophagus of
Amenophis, and other decorations which make descriptions folly! Vulnavia
sees a torch still in its huge bracket on the wall, and this she lights,
throwing more light onto the dazzling sight.

124. PHIBES

--shows his joy at the realization of most of his hopes.

125. BOTH

Around the walls are marks of water, five feet high, showing that the
entire room was only recently flooded.

CAMERA POINTS OUT that even the base of the sarcophagus itself is still
damp--and one last drop of water even now falls to the damp floor. This
joins other amounts of water on the floor, and now we see that the floor
is grooved to bring small amounts of water to a central core, which is
flowing with a small stream, all of it being carried away by gravity to
the blackness of the distant wall.

126. PHIBES

--moves closer to the sarcophagus proper. Vulnavia joins him. He reaches
out to touch the principal item of decor...a long golden snake, several
feet long, whose upraised head would seem to be some kind of handle.

127. INSERT SNAKE'S HEAD

Phibes' hand reaches out with respect to touch it.

CUT TO:

128. EXT. ROCKS - A REAL SNAKE - DAY

Its head is blasted to bits as a SHOT rings out.

129. EXT. ROCKS FEATURING BIDERBECK AND DIANA - DAY

The party is on foot, near the mountain, and Biderbeck stands with a
pistol a few feet from a startled Diana.

BIDERBECK
Wait, Diana! I don't know if I got him! There! Just at your feet!

He FIRES again.

SHOCK CUT TO:

130. INT. SARCOPHAGUS ROOM - PHIBES AND VULNAVIA

They react with dismay at the ECHO of the SHOT through the corridors
around them. Phibes moves like lightning.

CUT TO:

131. EXT. MOUNTAINSIDE - BIDERBECK PARTY BIDERBECK AND DIANA - DAY

Biderbeck is directing Diana and (...OTHERS...) toward a certain area of
the rocks.

CAMERA PULLS BACK OPTICALLY...to reveal this is being seen through a
telescope viewfinder.

132. EXT. PHIBES OBSERVATORY POST - PHIBES - DAY

He sees the approach of these strangers. He reacts. Moves off swiftly.

133. INT. CAVE AREA - BIDERBECK, DIANA, STEWART, BAKER, HACKETT

They are in an area just under the lip of the mountainside, from which
several caves and corridors lead off in various directions. There is a
suggestion of some building that has been done centuries ago...a kind of
arch...some supports, now rotting...the whole area has been silted up
with fine sand of ages past. There are remains of skeletons - bones,
skulls - half buried almost everywhere.

BIDERBECK
(is saying)
...And as you know, this entry has long been recognized as the
principal entrance to the entire Mountain of the Dead. Look,
Diana, these bones are the workmen who sealed up the various
tombs...and who were killed so they could never reveal how to
reach them.

DIANA
(with a shudder)
I'm not superstitious but...somehow I feel we're
trespassing...that we shouldn't be here.

Biderbeck puts a comforting arm around her.

BIDERBECK
Everyone feels that way at first...you'll get over it.
(a beat)
However, men...I believe that his entry has been deliberately
described for ages as the only way into this mountain...and that
there are several hidden passageways which may not originate here
at all. Tomorrow we'll each take a different area...thoroughly
look into every nook and cranny...We'll bring all the heavy
equipment in...Between the five of us...we'll cover the entire
perimeter.

HACKETT
"Five," sir...that means you're counting on Shavers.

BIDERBECK
Of course I am. Don't worry, he'll be dropping in soon.

They all move of. Diana takes one last fascinated look and shivers and
moves off with them.

134. SLOW PAN PAST BONES

The CAMERA emphasizes the ghoulish, macabre scene of death. We CENTER on
one SKULL. Its eyes move. It is Phibes in his bare skull. He watches
them go with something akin to pure hate.

135. EXT. BIDERBECK CAMP - NIGHT - LONG SHOT

In one of the tents, a light goes out. Coleman lanterns light the
interiors of the others.

136. INT. DIANA'S SECTION OF TENT - BIDERBECK AND DIANA - NIGHT

Diana sleeps in a section of the tent partitioned off for privacy. She
wears a pretty robe and slippers now and her hair is in lovely disarray.
Biderbeck is holding her with affection (he is dressed).

BIDERBECK
Get some sleep. Tomorrow will be a big day.

DIANA
(touches his face)
You're worried, aren't you, Jonathan?

BIDERBECK
(dissembling)
I have a few things on my mind...I thought sure Shavers would be
back--

DIANA
No. It's more than that.

A pause. He knows she knows that there is something deeper--but he
doesn't want to go into it.

BIDERBECK
Goodnight, Diana.

He kisses her on the forehead.

137. EXT. TENT - BIDERBECK'S AND DIANA'S SILHOUETTES - NIGHT

The silhouettes of their embrace is clear. CAMERA PULLS BACK to
INCLUDE...

138. STEWART AND BAKER - NIGHT

They've come back from a wash and a tooth brushing and now stop at the
entrance of their own small tent, watching the action.

STEWART
Next time I sign on for a desert expedition, I'm going to be the
guardian of something like that first.

BAKER
Don't let him hear you say that.

They go inside their own tent.

139. INT. SMALL TENT - STEWART AND BAKER - NIGHT

This tent has two folding cots, each with a sleeping bag on it. Very
simple accoutrements. Baker goes through the routine of getting ready
for bed. Stewart is restless.

BAKER
What you suppose is with old Shavers? Radiator trouble?

A pause. Stewart hasn't answered. Then--

STEWART
What? Oh, imagine so. Something obvious like that.--Uh...don't
really feel like turning in yet, old boy, think I'll have a pipe
outside.

BAKER
(not fooled)
A cold shower'd be more like it, eh?

Stewart throws him a nasty look for having hit the target. Exits.

140. EXT. BIDERBECK CAMP - STEWART - NIGHT

He sneaks a look at Diana's tent. The silhouette of her getting into bed
and then turning down the lantern can be seen.

141. STEWART

--would like to look longer. He walks aimlessly. Happens to look to...

142. POV. TOWARD RIDGE - NIGHT - VULNAVIA

A "Desert Passion" perfume commercial subliminal shot: believe it or
not, a lovely houri in veils and such seems to be out there!

143. STEWART

--continues to walk, then does a take as he realizes what he thinks he
saw. His head snaps.

144. POV. TOWARD RIDGE

Empty.

145. STEWART

Of course. Damned frustrating experience, this, tempting a man,
naturally he's going to imagine...He looks in another direction, though,
and stares.

146. POV. TOWARD DUNES - VULNAVIA

This time it is real...and the girl is actually beckoning him!

147. STEWART

--sneaks a look round to make sure nobody's going to share any of this
lovely stuff, then takes off after her.

148. VULNAVIA AS A DANCING GIRL

--leading him on.

149. STEWART

--being led. Then...

150. AT TOP OF WALLA - NIGHT

Stewart comes to a rise, looks incredulously toward:

151. POV. TOWARD SILKEN TENT - NIGHT

All that the Arabian Nights ever meant to a Caliph is there to behold! A
silken tent of incredible color...MUSIC to sear the brain...Tent poles
of ivory and tent ropes of gold...Vulnavia, never so entrancing, glides
past an OLD BEDOUIN waiting at the tent entrance, and entices Stewart
on.

152. AT DANCING TENT - PHIBES AND STEWART - NIGHT

Stewart stumbles on, not believing his good fortune. He looks at the old
Bedouin, who stares at Stewart. It is, of course, Phibes, with another
make-up of genius. Phibes gestures: Yes, of course, go in, you're
expected, but as Stewart starts ahead, Phibes stops him with a gesture
of "baksheesh." Stewart digs into a pocket and hands Phibes a coin and
hurries in.

153. INT. DANCING TENT - VULNAVIA AND STEWART AND MUSICIANS

The music we now see is coming from the four clockwork musicians, now
dressed as Arabians, in burnooses, etc. "The Alexandrian Quartet," says
the drum.

Silken cushions abound. A tray with goodies to eat and drink. Vulnavia
is in constant fluid motion, a sight to behold, as she bids her guest
welcome, and simultaneously gestures that he is to sit in the place of
honor, a golden throne cleverly made in the shape of a giant scorpion,
the back of the animal serving as the seat, the folded tail arching
upward for the back, and the tip of the tail serving as a canopy.
Stewart is delighted to sit back and enjoy.

154. VULNAVIA'S DANCE

--almost justifies an "X" certificate.

155. ALL

Vulnavia tantalizes, moving close and away from Stewart, occasionally
touching him, which almost makes him swoon with delight. He is
completely under her spell. She strokes his arms, one after the other,
and he stretches them along the arms of the throne in a paroxysm of
sensuous anticipation.

156. AT BACK OF THRONE - VULNAVIA

--pushes a button, then continues her circling about, sexier by the
moment.

157. INSERT TOWARD ARMS OF THRONE - STEWART

The actual claws of the 'scorpion' move and encircle each of Stewart's
wrists. Then everything happens at once:

158. ALL

The music has reached its climax, and ends, as Vulnavia finishes off her
piece de resistance with movements which would be vulgar done by anyone
else. Stewart wants to applaud, and suddenly realizes he is trapped. And
Phibes enters, well satisfied with their trap. He grins maliciously at
Stewart's predicament.

STEWART
Oh, I say, old chap, there is nothing personal in my interest,
purely a lover of the dance, don't you know, no need to--she's
your daughter, is she?--one of your wives? Wonderful technique--

But Phibes is taking out a golden key with which he locks each of the
handcuffs in turn, with evil clicks.

STEWART

My God, man! I'll freeze out here tonight! Tomorrow I'll bake!

Vulnavia is bringing an intriguing pottery item, a container of some
sort, more or less round, with a slot in the top its only opening. With
a smile, making sure that Stewart gets the significance, Phibes drops
the key into the "piggy-bank" with a clink. The Phibes places the
pottery just out of reach of the furthest extension of Stewart's foot.

Then Vulnavia is collecting the musicians and Phibes is doing something
with the tent pole, as a final fillip Vulnavia stuffs one of her veils
in his mouth.

159. EXT. DANCING TENT - PHIBES AND VULNAVIA, STEWART - NIGHT

In a twinkling the tent is struck.

160. ANOTHER ANGLE - ALL

As an act of consideration -- or is it more subtle torture?--Phibes
leaves a lantern shining brightly on the pottery.

161. ANGLE AT ROLLS - PHIBES AND VULNAVIA - NIGHT

They appear over a ridge and come down to the Rolls in the f.g. and
start to load it up.

162. STEWART

He hears the sound of the Rolls starting and pulling away and then
SILENCE. What thought are racing through his mind! He strains to reach
the pottery...but of course it is a hair's breadth away. He strains, he
prays, he moves every way he can...and then realizes that he is able to
move the throne itself, a fraction of an inch at a time.

Move. He has to stop to gather his strength...move. Catches his breath.
CLOSER. With superhuman effort his toe scrapes the pottery...and finally
he is able to bring it to him, inch by inch!

Somehow Stewart brings it to where he can grasp it with his two
feet...and then he tries to drop it in order to break it open. But it
falls harmlessly on the sand of the empty desert.

Stewart now sweats. Again he is able to get the object up, and by a
stroke of will, or luck, he smashes it against the throne!

163. STEWART

Even with the gag he smiles in relief, but his smile turns to HORROR at:

164. ANGLE TOWARD STEWART'S LAP - SCORPIONS

The key is there, to be sure, but a swarm of scorpions has also been
released, and they are covering his body!

165. ANGLE AT BARE ARMS - SCORPIONS

166. ANGLE AT FACE - SCORPIONS

167. ANGLE INSIDE SHIRT - SCORPIONS

168. ANGLE AT PANTS LEG - SCORPIONS

169. CLOSE - STEWART

His cry of pain cannot be heard through the gag...swarming with
scorpions.

CUT TO:

170. INT. DIANA'S TENT - DAY

It is morning. Diana is still asleep. A delicate little Cartier alarm
clock goes off and she awakes and turns it off. She stretches. Outside,
the sounds of activity...Biderbeck's voice...a truck starting. She gets
toilet kit and starts out.

171. EXT. CAMP - DAY

One of the Arabs brings a folded Union Jack toward the flagpole.

DIANA
Good morning.

The Arab stares at her, perhaps doesn't understand. He attaches the flag
to the gizmo, starts to raise it. As he pulls up, coming down is the
dead body of Shavers, hanging by its heels, a golden eagle impaled on
his chest, the talons sunk into his eye sockets.

The Arab stares in horror. Diana opens her mouth and...

SMASH CUT TO:

172. A "SCREAMING" CLARINET - DANCE OF SUCCESS

The clarinet of the clockwork musicians makes a "scream" as it goes into
a gliss of some sort. CAMERA PULLS BACK SWIFTLY to reveal that Phibes is
at the organ, Vulnavia is dancing, paeans of success and congratulations
for what Phibes knows must be the consternation in the camp, and more
yet to come.

173. EXT. DESERT - LONG SHOT - TROUT AND WAVERLY IN VEHICLE - DAY

Establishing.

174. EST. DESERT - TROUT & WAVERLY (PLATES?) - DAY

Their desert clothes look new and their gear unused. Trout drives.
Waverly is consulting a map.

WAVERLY
Bloody few landmarks hereabouts. Never fails--no landmarks, no
civilization.

Trout slows down, points off.

TROUT
I say, Sir...there's something now. What's the map say about
that?

Waverly deigns to look to...

175. POV. TOWARD THRONE AND STEWART IN DESERT - DAY

To the ordinary eye it is puzzling, but we know that it is the golden
throne and poor Stewart.

176. TROUT AND WAVERLY

WAVERLY
(checking map)
Not on here. It's nothing. A mirage, Trout. Carry on.

TROUT
But sir--

WAVERLY
Trout, if you knew anything about life in the desert, you'd know
about mirages! To the inexperienced, the novice, they appear once
or twice a day! Now carry on!

TROUT
But if I might suggest, sir--

WAVERLY
Damn it, man, what else could it be but a mirage? What's it look
like, eh? Some bloody beggar baked to a crisp sitting in some
ridiculous golden throne arrangement! That make any sense at all?
You think you're actually seeing that? It's the sirocco, Trout,
that and the foreign food we've had to put up with...You want
proof? All right, go on over there, you'll se it just keeps
moving away from you, you'll never get any closer! Go ahead! Only
way to learn a lesson!

177. TROUT AND WAVERLY AND GOLDEN THRONE (DUMMY) - DAY

They approach. They stop. They get out. Both are incredulous as they
look from it to each other and then to...

SHOCK CUT:

178. CLOSE SHOT - THE DEVOURED STEWART (DUMMY)

Scorpions are still feeding on choice tid-bits. Eye sockets are empty.
Bone is showing. Dried blood. (It might be well to provide First-Aid
personnel in the theaters during this footage.)

179. TROUT AND WAVERLY

Gingerly they try to remove the remains, find they cannot, because of
the handcuff arrangement.

TROUT
(with significance)
Sir, if I may say so, this also looks to be typically--

WAVERLY
(grimly)
Not yet. Don't mention that name to me just yet.
(a beat)
This isn't going to work. Have to pick up the entire contraption.

They pick up the throne with Stewart in it. As they bring it CLOSE TO
CAMERA the intricacies of the work are CENTERED...

MATCHING CUT TO:

180. CLOSE SHOT - THE SARCOPHAGUS

Something of the decor on the sarcophagus matches that of the throne.
RACK or some visual device to INCLUDE...

181. PHIBES AND VULNAVIA AND VICTORIA

Using a special four-wheeled dolly arrangement, Phibes and Vulnavia are
transporting Victoria in her casket up the last ramp and into the
Sarcophagus Room. (It might have extra torches, already burning...some
indication at any event that Phibes has really "prepared" it.)

Their entire procedure is in keeping with the formal ceremony which this
indeed is.

They bring the dolly alongside. Phibes plugs himself in to a jack on the
dolly.

PHIBES
Victoria, I bring you now to a temporary resting place, a
sarcophagus made for a Queen. here you shall sleep as if under my
own devoted care...awaiting only that moment, two days from now,
when I shall certainly find the last and final step to the River
of Life itself, flowing somewhere inside this mountain! Until
then, my darling, sleep your dreamless sleep...and await your
true awakening!

Phibes reaches for the head of the golden snake.

182. INSERT - PHIBES' HAND AND SNAKE HEAD

He turns it--with a 'click'--as if he knows exactly what he's doing.

183. BACK TO SCENE

His hand still on the snake, he moves it a full half-turn, whereupon the
lid of the sarcophagus rises...revealing, at the base of the
sarcophagus, an empty space large enough to receive Victoria.

Reverently, he and Vulnavia place Victoria therein...he makes a last
gesture of respect and love.

Then he takes the snake head again and uses it as a handle to lower the
lid. It does not quite close. Phibes works delicately with the
handle...trying it this way and that, and at last the lid snaps shut.
Phibes turns the handle one extra turn to make sure it is closed, and
there is a sliding sound, of metal against metal.

184. INSERT - PHIBES' HAND AND SNAKE HEAD

This time, by accident, Phibes is turning the snake head in a reverse
direction, and the snake's long tongue comes out...a golden forked
tongue whose two parts have serrated, asymmetrical edges...forming a
KEY.

185. BACK TO SCENE

Phibes and Vulnavia react with breathless amazement. Phibes turns the
handle the other way...the tongue reacts. Reverse: the Key appears.

PHIBES
(with excitement)
Of course! The key to the River of Life! The REAL KEY!--To work,
Vulnavia!

CUT TO:

186. EXT. BIDERBECK CAMP - ANGLE TOWARD NEW GRAVE - DAY

A fresh mound of sand...a cross...Shavers' pith helmet resting on the
cross. Shadows of those attending across the grave.

187. UP ANGLE TOWARD BIDERBECK

He has held the service.

BIDERBECK
Amen.

188. FEATURING VARIOUS ARABS

The Arabs still hold their shovels. They are all upset, furtive, afraid
in the face of death.

189. INTERCUT GROUP

(PRODUCTION NOTE: Covering close-ups depending on first or second unit
work, availabilities, etc. To be specified by R.F. and A.F.)

There is the SOUND of a vehicle o.s. coming nearer.

190. POV. TOWARD TROUT AND WAVERLY IN VEHICLE WITH THRONE

They approach the camp, the throne and poor Stewart bumping along in the
flatbed.

191. THE ARABS

--react with absolute terror now, seeing--

192. CLOSE MOVING SHOT - THRONE & DUMMY IN TROUT'S VEHICLE

It is indeed a ghoulish sight.

193. THE ARABS

As a man, they throw down their shovels and run to a vehicle where an
Arab is already behind the wheel.

194. FEATURING BIDERBECK

BIDERBECK
Come back here, you cowards!
Katwa molla jangara!

Baker comes to him.

BAKER
Let them go! They're no use to us anymore anyway!

195. ARAB TRUCK

--goes off into the distance.

196. ALL

DIANA
(indicating Trout's vehicle)
Who is it, Jonathan?...And for heaven's sake what are they
bringing with them?...
(a beat)
NO!!

She runs toward the safety of her tent.

BIDERBECK
(barely audible)
My God...Ted...?

197. TO INCLUDE TROUT AND WAVERLY

The truck comes to a stop. Biderbeck and the others go to meet it. Trout
and Waverly step down.

BIDERBECK
Inspector Trout? What is all this? Where did you find him?

TROUT
Mr. Biderbeck...we meet again, halfway around the world...with
more of the same...

BIDERBECK
But--

TROUT
This is my superior, Chief Inspector Waverly--

BIDERBECK
Sir...

WAVERLY
If your men can--take care of--your Mr. Stewart there...and we
can get in out of the sun...I'll tell you the whole incredible
story.

BIDERBECK
Yes, of course...John, Evelyn--can you get him down off there--

Biderbeck, Trout and Waverly head toward the main tent. Waverly hands
Biderbeck a chain and an identification disc.

WAVERLY
Knew he was with your expedition by this.
(a pause)
Fortunately scorpions can't devour aluminum.

BIDERBECK
You don't mean--?

Waverly and Trout nod.

CUT TO:

198. EXT. CAMP - A VIEW OF THE THRONE AND DUMMY

It is being carried off the truck. CAMERA PULLS BACK to reveal...

199. EXT. OBSERVATION POST - PHIBES

Phibes is watching this action through his telescope. He chuckles a
soundless chuckle, delighted with the events of the past ten minutes. He
covers up the telescope, hurries back into the mountain.

CUT TO:

200. INT. BIDERBECK'S TENT - BIDERBECK, TROUT, WAVERLY, BAKER &
HACKETT - DAY

A tableau. The men of the expedition are stunned with what they have
just heard, from Trout and Waverly, who are more or less facing them
all.

BIDERBECK
...It seems incredible, doesn't it?

WAVERLY
Incredible--abominable--fiendish.

BIDERBECK
(nods)
Yes.

WAVERLY
(with firmness)
I'm glad you agree with me, Mr. Biderbeck

TROUT
If I may capsulize it for you gentlemen: First, Mr. Bruno,
Papyrus missing. Egyptian papyrus. Second, Professor Ambrose.
Overboard from a ship bound for Egypt. Third, H. G. Shavers, in
Egypt. Fourth, Former Leftenant Stewart. In Egypt. -- Done in
by...

BIDERBECK
...some kind of madman.

TROUT
Exactly!

BIDERBECK
But who?

WAVERLY
You have no idea?

BIDERBECK
(cautiously)
I can't imagine anyone who has the same interest in the Mountains
of the Dead there--
(indicates)
--as I do.

TROUT
Do you know of a man called...Phibes?

WAVERLY
Dr. Anton Phibes?

BIDERBECK
Phibes...No, gentlemen, I don't.

WAVERLY
Think hard.

BIDERBECK
I think no other way. Who is he?

WAVERLY
Actually, he died...we...think, but in spite of that...

TROUT
He killed eight men five years ago, all in devilish
fashion...he...left this life...as Chief Inspector Waverly
states...but we believe he also...is responsible for the deaths
of Bruno, Ambrose, Shavers and now Stewart...and...that any one
of you might be next.

There are ad libs from the men of "What?"..."God!"..."What are you
saying?"..."I need a drink on that!"...etc.

BIDERBECK
(ruefully)
I'd almost like to meet him.

WAVERLY
Well, I'm here to inform you that for your own safety and that of
all these other British citizens, you're not going to.

BIDERBECK
What do you mean, sir?

WAVERLY
I mean that as I came through Cairo I was authorized to withdraw
your permission to explore in this area--b the British Ambassador
and the Department of Egyptian Antiquities--

BIDERBECK
What!?

BAKER
You ask me, just as well.

WAVERLY
(without stopping)
...I am empowered to make you strike camp at my discretion...and
as a result of my full and complete delineation of the entire
Phibes matter, a Battalion of the Scottish Fusiliers is even now
en route by forced march to this very spot...to hunt Dr. Phibes--
or whoever it may be--to hunt him out no matter where he is
lurking!

BIDERBECK
(quietly)
I don't recognize your authority, sir.

HACKETT
Be sensible, man!

BAKER
Think of Diana!

HACKETT
Think of all of us!

BIDERBECK
You're throwing in the towel--now, when we're so close!

TROUT
How close are you, Mr. Biderbeck?

BIDERBECK
We've narrowed it down to a few hundred feet, I know it!

WAVERLY
From what I gather there's a damn great rabbit-warren in those
mountains.
(to Trout)
Makes a damn fine hide-out. But the Fusilliers'll smoke him,
never fear!

BIDERBECK
That "rabbit warren," as you call it, is one of the most
sophisticated architectural complexes in the ancient or modern
world!

WAVERLY
That won't faze Major Braff and his Scots lads, not at all.

BIDERBECK
(through his teeth)
Sir, I meant to say--

WAVERLY
Oh, the Yard appreciates how you chaps feel about those pots and
jugs and bits of bone you dig up...

Biderbeck looks at his remaining two men, wondering how they feel.

BIDERBECK
Well?

HACKETT
Shavers was my best friend, you know that.

BAKER
Old Ted was a bag of wind, but...well, I think somebody's trying
to tell us something...and frankly, I'm willing to listen.

WAVERLY
Good! We're agreed then! You can strike camp first thing after
sunup, all travel together, meet the Major halfway--

BIDERBECK
(stands)
We're NOT agreed, Inspector!
(collects himself)
Sorry, didn't mean to shout. I'd like to ask one consideration.

WAVERLY
Which is--?

BIDERBECK
You say this Major Braff is expected--in about thirty-six hours?

WAVERLY
More or less.

BIDERBECK
I would like to continue my work until then...
(looks at others)
...with or without anyone else...After all, you two men from the
Yard are here to protect us...

Waverly is flattered by this--as hoped.

WAVERLY
Mr. Biderbeck. If you will show good faith and begin striking
camp--get the smaller gear packed--I'd be inclined to go along
with that. What's the harm, eh? Might come across some pretty
beads, no telling what, eh, keep a sharp lookout, of course?

BIDERBECK
Yes. No telling what.

TROUT
But--might I ask, sir...After all, what's so important about two
more days?

201. CLOSE SHOT - BIDERBECK

An enigmatic look, as is frequently his wont.

SMASH CUT TO:

202. CLOSE SHOT - THE MOON CLOCK

In the window the number "3" slides out and "2" fills the space.

203. ANOTHER ANGLE TOWARD "MOON CLOCK"

A projection of the Moon is slowly coming into perfect register with the
golden moon of the device...and other rays of light (as if in a
planetarium) are also converging toward several intersecting lines
embossed on the face of the panel...so that, if the image of the moon
continues in the same way, and the lines continue to move in the same
ways, EVERYTHING will be in perfect register. (R.F. and B.E. have this
all worked out.)

204. TO INCLUDE VULNAVIA

--happily watching the countdown. She turns at the SOUND of footsteps.

205. TO INCLUDE PHIBES

In some haste, he looks overjoyed, and gestures for her to come...She
hurries toward him...They both go whence he came, to...

206. EXT. OBSERVATION POST - PHIBES AND VULNAVIA

The telescope is trained on the Biderbeck camp o.s. Phibes helps
Vulnavia adjust the eyepiece...

207. POV. TOWARD BIDERBECK CAMP - CAMP STRIKING ACTIVITY - DAY -
(OPTICAL)

One of the smaller tents is being struck. It would seem they are
breaking camp.

208. PHIBES AND VULNAVIA

--exchange a look of mutual congratulation.

CUT TO:

209. EXT. BIDERBECK CAMP - BIDERBECK AND HACKETT - DAY

Hackett is carrying a small box toward a truck.

HACKETT
Baker and I can get the small lorry loaded in the next couple of
hours, sir--

BIDERBECK
Carry on if you like, but I'm going back in there, and I'm going
to follow that corridor all the way to the end this morning...and
if you and he want to come along--you'll both be most welcome!

HACKETT
--You are, sir?

BIDERBECK
I'm leaving in ten minutes...Suit yourself.

Biderbeck goes into the tent.

210. INT. BIDERBECK'S TENT - BIDERBECK AND DIANA - DAY

He collects some of the things he needs from his field desk. He looks to
the far end of the tent...

211. TOWARD DIANA'S PARTITION OF TENT - DIANA - DAY

The cloth partition has been pushed back during the day, and Diana can
be seen packing some things in her Vuitton luggage.

212. BIDERBECK AND DIANA

He crosses to her, taken aback. She notes his approach, but continues to
do what she's doing, rather tight-lipped.

BIDERBECK
Darling...What are you going?

DIANA
I'm getting ready to go back to Cairo...whenever the first
vehicle leaves.

BIDERBECK
You're what? Diana, I know you're upset by what's
happened...anyone would be...but don't leave me now--!

DIANA
It's not just the deaths, it's everything. This whole--
experience--is something I haven't understood from the very
beginning! And I understand even less now!

BIDERBECK
I know you're tired and distraught, of course it's a strain--

DIANA
I'm frightened, yes, but that's not it...and you know it. Even
now--with all that's happened--you're still not telling me the
truth.

A pause.

DIANA
Are you?
(he doesn't answer)
If you don't want to tell the authorities, if you don't want to
tell your own men, that's your privilege...but I thought I was
different. I thought you loved me--

BIDERBECK
I do, you know I do--

DIANA
(levelly)
I can't believe you any more. Any rational man would leave this
horrible place...but you insist on staying...And you won't say
why. What's here? What's going to happen by tomorrow that won't
happen next month or next year?

She is close to breaking, the first time this girl has shown anything
except the strength of her breeding. He takes her in his arms.

BIDERBECK
Listen to me. I told you in London and I tell you now...there
will come a time when I can tell you everything, when you'll
understand everything about me...and--

He looks off.

BIDERBECK
--that time will come--by sundown tomorrow...either way.

DIANA
(melting)
You're still talking in riddles.

BIDERBECK
Trust me.
(he kisses her lightly)
Believe me.
(kisses her)
Love me.

She holds him tightly, very tightly.

DIANA
I do!...God knows why, darling...but I do--!

CUT TO:

213. INT. ORGAN ROOM - PHIBES AND VULNAVIA

The CAMERA EMPHASIZES an incredible work of the weaver's art...a silken
panorama of the heavens above and the heavenly bodies...and the CAMERA
TRAVELS across its brilliant length to Vulnavia, who is working on this
masterpiece herself.

214. PHIBES

--is playing some at home music, like "Who's Sorry Now?"

215. WIDER ANGLE - BOTH

Now, to our amazement, we see that instead of being in an easy chair, as
one might reasonably have expected, Vulnavia is sitting on the top of a
12-foot ladder, the better to handle her work. It stretches away from
her and down from her, and is staggering.

The two exchange small smiles of contentment.

CUT TO:

216. INT. CORRIDOR - FLASHLIGHT ON WALL DECO

A flashlight illuminates some of the wall decorations as someone is
moving through.

217. INT. CORRIDOR - BIDERBECK, DIANA, BAKER AND HACKETT

They are cautiously making their way through the tunnel. Two of the men
hold flashlights, powerful ones. We note that the men wear side-arms.

BAKER
Hope this isn't another one of those dead ends, sir...

BIDERBECK
If those ancient builders hid their passage-way, we can find it!

They press on.

218. EXT. CAVE ENTRANCE - TROUT & WAVERLY - DAY

Waverly holds a weapon at the ready. Trout is using binoculars to scan
the area.

WAVERLY
See anything?

TROUT
Nothing suspicious, sir.

WAVERLY
That's the way he works, damn it. Underhanded. Least expect it.
Foreign descent, I wager. Couldn't be British. Eyes peeled,
Trout.

CUT TO:

219. INT. CORRIDOR - BIDERBECK, DIANA, BAKER AND HACKETT

They move in silence. Biderbeck feels a wet wall. They all note it.

BIDERBECK
Not as much moisture, would you say?

HACKETT
Water table must be dropping all through the mountain...How did
you predict that, sir?

BIDERBECK
That's a long story.
(to Diana)
You all right?

DIANA
Fine.

They approach a curve in the corridor. Go part way into it. Biderbeck
holds up his hand.

BIDERBECK
Hold it.

They freeze.

BIDERBECK
Logical place for a booby-trap. Here--give me--

He finds a chunk of rock on the floor, and sends it skittering along the
corridor like a bowling ball. It rattles and echoes and comes to a stop.
Nothing.

BAKER
(joking)
Probably the next intersection, sir--

Baker starts on. Biderbeck stops him:

BIDERBECK
Not yet!

He looks around for something larger, finds a shattered piece of timber.
This he also skids along the floor.

220. INSERT - WOOD SKIDDING

As it crosses a slab of stone, the stone drops a few inches, and...

221. ANGLE DOWN CORRIDOR (SPECIAL EFFECTS)

The roof of the corridor above the stone collapses in a terrible noise
and a cloud of dust and great stones crash into the corridor.

222. ALL

They are stunned...and admiring toward Biderbeck.

BAKER
(dryly)
I see what you mean, sir.

BIDERBECK
(all business)
Come along...If we climb--

He starts ahead a few feet, then stops dead still, looking off to the
side.

BIDERBECK
Light, quickly!

223. POV. TOWARD DOWN RAMP

An archway has been revealed by the falling stone...in fact, a fine dust
is still blowing through it...

an archway leading down a ramp, almost
exactly--almost, mind you--like the one down which Phibes had to go
before reaching the Sarcophagus Room.

224. FEATURING BIDERBECK AND DIANA

His eyes show his success...that success of his which he dreamed! Diana
recognizes it. She instinctively clutches his arm. He turns to her a
moment.

BIDERBECK
(barely audible)
Yes...

He cautiously steps into the arch...and down the ramp. He holds Diana's
hand.

CUT TO:

225. EXT. CAVE ENTRANCE - TROUT AND WAVERLY - DAY

Waverly looks at his watch. Trout is drinking from a canteen.

WAVERLY
Twenty-two more minutes...and then somebody's going to have to go
in there and get them out.
(a beat)
I'll stand guard out here, Trout.

CUT TO:

226. INT. PHIBES ORGAN ROOM - PHIBES AND VULNAVIA

Phibes finishes what he is playing and stands. He looks to Vulnavia, and
indicates that she should put her work aside for the moment and join
him. He gallantly assists her down the ladder. They go to...

227. ANGLE TOWARD "MOON CLOCK" - PHIBES AND VULNAVIA

It reads "2" in the window...but even as they watch..."1" comes into
view! He takes her hand...a gesture not dissimilar to Biderbeck's with
Diana, incidentally...and they start off to...

228. SEVERAL CUTS - PHIBES AND VULNAVIA IN CORRIDOR DOWN RAMP/UP RAMP

The CAMERA TAKES Phibes and Vulnavia along the established route to the
Sarcophagus Room.

229. INT. SARCOPHAGUS ROOM

We are in the room, shooting toward the wall which permits entry from
Phibes' up ramp. The opening swings open, being maneuvered by Phibes. He
and Vulnavia step inside.

CAMERA ZOOMS IN to Phibes and Vulnavia. They are thunderstruck!

CAMERA ZOOMS BACK...back further than they first set-up...the REVEAL
that only the base of the Sarcophagus can be seen...and the Sarcophagus
itself is GONE!

230. REVERSE - PAST PHIBES AND VULNAVIA

On the opposite wall, past the void of the non-existent sarcophagus is a
hole obviously made by Biderbeck...not a neat entry at all...whose
emptiness is mute witness to what has happened.

231. CLOSE - PHIBES AND VULNAVIA

Words cannot express the thoughts racing through his brain. He is
staring, unable for the moment even to move, at...

232. THE EMPTY BASE OF THE SARCOPHAGUS

MATCHING CUT TO:

233. THE SARCOPHAGUS

234. INT. MEDIUM TENT - BIDERBECK, DIANA, TROUT, WAVERLY, HACKETT,
BAKER - NIGHT

The sarcophagus is still on the Model A truck bed on which it was
transported. The truck is inside one of the medium-sized tents, which
also contains some of the work-tables and miscellaneous gear.

Everyone is here--and celebrating. Biderbeck is up on the truck beside
the sarcophagus, almost caressing it. Diana is pouring beer from a
pitcher into the enamel cups which each man holds, going from one to the
other.

DIANA
It's only warm beer...but it's going to taste like ambrosia!

Baker leads a cheer:

BAKER
Hip-hip--!

They all join in: "Hooray!" At the end of the cheer, Diana has reached
up--and Biderbeck has reached down--to fill his cup. He now raises it.

BIDERBECK
I thank you...But this is my toast to all of you who made this
possible...there here--and those departed.

He drinks. The others join in. A beat.

WAVERLY
All I can say is...I'm delighted you found this very
handsome...uh... archeology item...and that now all of us can
return to civilization--with Mission Accomplished per schedule,
per promises, and per request.
(to Biderbeck)
Right, sir?

235. CLOSE - BIDERBECK

BIDERBECK
(deadpan)
As you say, Inspector.
(then)
But there's a great deal to be done before we leave, gentlemen,
it's very late, I know you're all hungry, and as it happens,
you're going to have a treat...Instead of an Arab chef, we're
privileged to have a volunteer...Diana. You may end up with
watercress sandwiches, but it's worth a go.

DIANA
That sounds like a cue.

BIDERBECK
I'm afraid it is.
(to all)
If you'll all start...I'll be along...

They start out. Biderbeck stops Baker:

BIDERBECK
John...I'm going to get started with this, if you could bring me
something for a snack...

BAKER
Righto--

BIDERBECK
And then I wonder if you'll take the first watch in here when I
go to bed? Could you move your cot in?

BAKER
Absolutely--I'll spell off with Hackett at midnight?

BIDERBECK
Thanks.

BAKER
She's a beauty, eh, sir?

BIDERBECK
Probably the greatest find of the Century. If I
can...unravel...all the secrets locked in there...it will be more
important than--Tutankhamen... perhaps more important than the
Rosetta Stone...I think there can be more knowledge gained from
this than from any other work in all of man's history.

BAKER
That's a little beyond me, sir...
(starts to go)
This's what Dr. Phibes was after too?

BIDERBECK
I suppose so.

BAKER
But why?

BIDERBECK
("ah")
If I knew exactly, half my work would be done.

Baker exits. Biderbeck turns and just looks at the Sarcophagus.

236. CLOSER ON BIDERBECK AND SARCOPHAGUS

He touches it as if it were a living thing. He inspects it on all sides,
although of course he has not taken his eyes off it for more than
moments ever since he found it. it is obvious to him that the snake's
head is more than mere decoration, and he gently fondles it, examines
it...and then tries to move it. Perhaps he uses another part of the
decor--the snake's tail?--as the means to work simultaneously with the
head.

Finally the head moves...there is a click...

237. ANGLE PAST BACK OF SARCOPHAGUS TOWARD BIDERBECK

The lid opens slowly in f.g....while CAMERA SHOWS Biderbeck's reaction
to what it has revealed. He is overwhelmed.

238. REVERSE PAST BIDERBECK TO SARC. INTERIOR

The lid of opened...revealing the top half of the interior...where lies
a mummy, undefiled.

Biderbeck turns to call the others...but thinks better of it, wanting to
savor this moment...wanting also to work undisturbed.

239. PAST SNAKE HEAD TO BIDERBECK

Biderbeck works the head again...the lid closes...he opens it again...
There are tears in his eyes, tears of excitement and anticipation.

240. BIG HEAD - BIDERBECK

He has almost won everything!

SMASH CUT TO:

241. BIG HEAD - PHIBES (MOONCLOCK AREA)

He has almost lost everything! But Phibes never gives up, not even when
he has met a man who is obviously so much his match!

PHIBES
(from his being)
I shall not rest Victoria...

CAMERA STARTS TO PULL BACK, revealing that Phibes is speaking to a
photograph of an enchanting Victoria, while hooked into the "Moonclock"
jack.

PHIBES
...I shall stop at nothing! I shall find you! I shall take
revenge on those who have taken you from me and defiled you! Woe
be unto them who have dared to defy me!

Phibes wheels and tears the jack away and in a flash of motion is gone.

The camera moves slowly to the Moon Clock. TIME IS RUNNING OUT.

CUT TO:

242. EXT. BIDERBECK CAMP - CLOSE SHOT AT TENT FLAPS - NIGHT

We are immediately aware of the SOUND OF A HIGH WIND...and we see the
sand being blown up against the tent flap of Biderbeck's tent...and the
canvas flapping. Only one tent--with the Sarc.--has a light (lantern)
inside.

243. INT. DIANA'S SECTION - DIANA - NIGHT (LOW KEY)

Diana is sleeping...but she awakes with the noise...shivers a bit
...turns over and goes back to sleep. Her clock reads 11:30.

244. INT. TENT - BIDERBECK - NIGHT

He is in bed, but not asleep. He is disturbed as the STORM INCREASES. He
reaches out from his cot to look outside, but immediately withdraws as
SAND comes in and the noise is worse. He buttons up the flap tighter.

245. INT. SARC. TENT - BAKER - NIGHT

Baker is on the cot, in his sleeping bag. The cot is up against the
canvas, which flaps badly. Baker puts down the book he is reading--"The
Turn of the Screw"--and takes another look at the Sarc., and turns the
lantern lower, but not out, and snuggles down deeper in his sleeping bag
against the cold and the wind. The WIND RISES in intensity...almost as
if an animal was howling out there.

246. EXT. BIDERBECK CAMP AREA - NIGHT

To the extent possible, showing the entire camp withstanding the force
of nature. CAMERA PANS AWAY...

247. MATCHING PAN CONTINUES ACROSS DESERT SANDS...

FAST DISSOLVE TO:

248. EXT. N.D. DESERT AREA - STORM - NIGHT

Some kind of light from somewhere permits us to see that even
here...wherever here might be...the STORM IS GROWING.

PAN CONTINUES to...

249. PHIBES AT WIND MACHINE AND SOUND FX MACHINE - NIGHT

Out there, Phibes has a propeller wind machine and a drum to make a
terrible wind NOISE.

Perhaps we see the cables leading off to the generator o.s. (?)

In any event, Phibes is using rheostats and other devices to "play" the
storm to his heart's content...and it is a beaut.

Beyond Phibes, back of the propeller, of course the desert is calm and
quiet.

250. CLOSE PHIBES

A demoniacal plan is already under way!

251. INT. BAKER'S TENT - BAKER - NIGHT

His eyes grow heavy and close. CAMERA PULLS BACK to show entire
interior, withstanding the storm outside. Baker turns over, has dropped
off.

252. CLOSE SHOT AT TENT NEAR BAKER'S COT - VULNAVIA & BAKER

The arm of someone--Vulnavia!--slides under the tent, holding a broad
canvas belt with a strong buckle. Whilst Baker is unaware, Vulnavia
encircles Baker completely as he lies under a blanket and snuggled
within the sleeping bag, and then buckles the buckle, pinioning him
helplessly. Her touch is soft...she makes sure he does not awake. Then
she withdraws. HOLD a beat or two. (NOTE: Vulnavia may be veiled against
the sandstorm.)

253. ANOTHER ANGLE - BAKER

Above the sound of the wind we hear something strange...a "Wheek...
wheek. Wheek...wheek." Then the tent starts to bulge ominously at the
same level as his cot.

254. EXT. BAKER'S TENT - PHIBES AND VULNAVIA - NIGHT (WIND)

Phibes is just outside Baker's tent, with Vulnavia, and Phibes is now
using the famous Brian wormscrew, first seen at the picnic, for a much
more fiendish purpose. The screw extends in under the tent at the
moment, and Phibes is slowly turning the device by means of the jackal-
headed handles.

255. INT. BAKER'S TENT - BAKER AND WORMSCREW VISE - NIGHT

The canvas bursts open now, because a huge jackal's head has pushed
through. Because the vise arrangement has a proper plate at one end, and
the head at the other, it will, unless stopped, slowly meet at the head
and foot of Baker's bed--and, indeed at the head and feet of Baker--and
then slowly continue to compress whatever lies between.

256. EXT. TENT - PHIBES AND VULNAVIA - NIGHT (WIND)

Phibes continues to rotate the vise handle.

257. INT. BAKER'S TENT - BAKER

The jackal head is at the foot of the bed and looks almost as if its
gaping jaws are salivating in anticipation. Now the two ends of the vise
have met the head and foot of the bed and thus resistance is felt.

258. INSERT - THE COT

With the pressure, the cot starts to bend.

259. BACK TO BAKER

His legs are being pushed up. He awakes. He is at a loss. He sees that
jackal head coming at him. He screams, just as the "wind" outside rises
in intensity and almost duplicates his own voice. The vise continues to
compress.

260. INT. BIDERBECK'S TENT - BIDERBECK - NIGHT

A flash cut: Biderbeck opens one eye, hears the storm rising, goes back
to sleep. Baker's scream is lost in the wind.

261. PHIBES

--is relentless.

262. BAKER

--is now being squished, unable to free his arms from the sleeping bag,
or roll out of bed because of the restraining strap. His knees are up in
the air; his back is hunched; he is being compressed like an accordion.

263. INSERT - THE COT

The metal springs and the hinges collapse and the wood splinters like
popguns.

264. VERY CLOSE SHOT - BAKER

He is in awful shape. He hear bones break. He tries to scream. He
cannot.

265. INSERT AT BASE OF COT

Now even smaller. Some drops of blood splatter onto the ground.

266. CLOSE SHOT - BAKER

His dead eyes are open. We can only see down as far as his neck...but
that is enough. A trickle of blood flows from his mouth, which is in a
peculiar shape as a result of the compressions of the thoracic region
(which we dare not show).

CAMERA WHIPS to...

267. PHIBES AND VULNAVIA

--entering the tent. They are all business. Phibes shoots one glance at
his victim, Phibes' eyes displaying no emotion of any kind, while
Vulnavia hurries to the driver's compartment of the truck. FOLLOW
VULNAVIA while Phibes crosses to Baker o.s.

268. CLOSE PHIBES

He takes from his cloak a radio-control device the size of a pack of
cigarettes. He has obviously done something to Baker at whom he shoots a
glance o.s.

269. INSERT DEVICE

Phibes moves a control which is at "Medium" to "Maximum."

270. BACK TO SCENE

The wind grows stronger and the sound louder. The tent flutters.
Vulnavia starts the truck. Phibes makes sure everything about the sarc.
is secure. He then hurries to the tent flap, rips it open in a
magnificent gesture of triumph! Vulnavia drives the truck and its
previous cargo out of the tent as Phibes gets in the other side.

They are away!

SMASH CUT TO:

271. CLOSE SHOT - DIANA SCREAMING

This time she is really screaming. She buries her face in the comforting
shoulder of Biderbeck, standing beside her, who also would be screaming
were he not a man of incredible self-control.

272. INT. BAKER'S TENT - BIDERBECK & DIANA, WAVERLY - DAY

It is morning, and the grisly business has been discovered. The tent is
a shambles, of course, and the tire tracks mute evidence of what has
happened to the sarc. But worse (in one sense) is...

273. CLOSE SHOT AT EXHIBIT TABLE

Along with the other miscellaneous gear kept in this tent, a long table
has been set up, which we saw last night, with small items found so far
by the expedition, with various labels...small tools, bottles, bits of
jewelry, etc.

There have also been two busts of Egyptian royalty--gold and purple
designs, elaborate headdress--on a table of their own. Now, next to
them, as a CAMERA ZOOM POINTS OUT, is what remains of poor Baker...a
normal-sized head, to be sure, but below that a "body" only one foot
square, comprised, so car as we can tell, of a compressed sleeping bag
and cot.

274. BACK TO SCENE

Waverly is all business, once he has swallowed his amazement and
gathered himself together.

WAVERLY
Mr. Biderbeck, don't interrupt me. This is the last straw.
Shouldn't have listened to you before, against my better
judgment. This entire party is leaving, leaving as soon as
humanly possible. I order you to expedite such movement. it is
now oh seven three zero. Expect to be away at oh nine hundred,
very latest. We shall intercept Major Braff and his boys at the
Ben-Galla Oasis if we're lucky, turn this whole hideous affair
over to the military.--Is that understood?

275. CLOSE BIDERBECK

A sea of ambivalent emotions. He, who knows so much more than they! How
could anyone make a rational reply at a time like this?

CUT TO:

276. INT. PHIBES MOON CLOCK ROOM - CLOSE MOVING SHOT - THE SARC

The Sarc. is being moved along rails laid on the floor of Phibes'
condominium, rails which lead on into the distance beyond where the sarc
is now stopped. It is Phibes and Vulnavia who have reverently brought it
here.

277. PHIBES AND VULNAVIA

He looks down at it with thanks and with love. He plugs himself into the
Moonclock jack...glancing a moment at the conjunction itself: the
moonlight is only a sliver away from the golden moon of the clock, the
other details almost in perfect register.

Then Phibes reaches toward the snake head, turns it in the proper
fashion, and the entire lid raises, revealing Victoria in her normal
aspect. Then Phibes speaks to her:

PHIBES
My darling, they have tried to take you from me, and they have
failed. I will keep you by my side for these next three
hours...and then will be revealed to us the true meaning of the
conjunction of the Moon, the spirits of Isis and Osiris, and the
secret of the Mountains of Ibiscus! We shall wait together...we
shall find together the River of Life... together we shall unlock
the door to Reincarnation and Eternal Life!... Rest, rest,
beloved, only three hours more...and I shall be at your side!

With love, he lowers the lid.

278. INSERT SNAKE'S HEAD HANDLE - PHIBES

He locks the lid shut...then turns the snake's head to secure the hidden
key. A click...a sound of sliding metal...and the tongue extends...but
it is broken off at the base! A jagged edge of clean new metal shows
where the key was removed!

279. PHIBES AND VULNAVIA

Dismay! Anger! An ungodly SCREAM of despair!

280. CLOSE SHOT - THE EAGLE

--is the one making that terrible sound!

281. CLOSE PHIBES

He cannot believe what has happened. Incredulous, he looks again to...

282. CLOSE THE SNAKE'S HEAD

And the tongue torn away!

CUT TO:

283. MATCHING CUT TO KEY IN BIDERBECK'S HAND - DAY

Biderbeck rolls the ornate key around in his palm.

284. INT. BIDERBECK'S TENT - BIDERBECK - DAY

He sits on his cot, trying to fathom the answer...knowing that it lies
somehow here in his hand. Outside, some indistinguishable shouts from
Trout, Waverly and Hackett...an engine starting...sounds of striking
camp.

Hackett sticks his head in the tent.

HACKETT
We can strike this tent next, sir, any time you're ready.

Biderbeck doesn't answer...may not have heard.

HACKETT
Sir...?

BIDERBECK
Oh...in a moment...I'll let you know...

Hackett starts to exit, then holds the tent flap open for Diana,
entering.

HACKETT
Give you a hand with any of your gear, Miss Trowbridge?

DIANA
No, thank you...I can manage.

Hackett exits. Diana stops, looks at the motionless Biderbeck.

DIANA
You haven't even started to pack...
(distraught)
Jonathan!

He gets up, a burning look in his eye.

BIDERBECK
I can't leave now! I've got the answer--right here in my hand!--
if I can only see it!

DIANA
Oh, Jonathan! Not again! What worse thing has to happen before
you'll give up this ridiculous obsession?

BIDERBECK
Darling, you think you know ho much all this means to me...it
means a thousand-fold more! And I can't turn my back on it now!
The years I've really been on this quest...the fortunes I've
spent don't matter... but darling, you've got to believe me, I
need only a few hours more...
(holds up key)
This...and a few hours! Is that asking too much?

DIANA
A few hours...for what?

BIDERBECK
I don't know...but deep inside that mountain, at the very moment
when the moon is full on the other side of the world, and when
Sirius, he brightest star in the heavens, meets with Venus--let
me show you where the ancients--

DIANA
(already interrupting)
Jonathan...you don't make sense, you can't know what you are
saying...
(looks at him strangely)
I don't know you any more.

BIDERBECK
Don't say that! And help me convince them--please! A few hours!
(pause)
It means my life to me!!

Their eyes lock. At that moment, Waverly enters, dressed for travel.
When he speaks, the two continue to look into each other's eyes...
Biderbeck asking...Diana feeling at a loss, uncertain...

WAVERLY
What's this Hackett tells me, not packed yet, sir? Can't have
that, Mr. Biderbeck, realize it's a disappointment, naturally,

Can't have
that, Mr. Biderbeck, realize it's a disappointment, naturally,
suppose it's like getting a great monster salmon right up to the
net and having him break the line, hat? But there's more fish in
the sea, right? Now I must insist, sir. We are moving out.
Instanter.

He looks from one to the other.

WAVERLY
Miss Trowbridge, I say, how about you? You ready?

DIANA
(looking at Biderbeck)
Yes, Mr. Waverly, I am absolutely ready.

WAVERLY
Good. Sending you out in the first car. Certain form, after all.
Women and children, et cetera...Righto, Miss Trowbridge?

DIANA
(still looking at Biderbeck)
Definitely, "righto."

She turns on her heel and goes toward her area, leaving Biderbeck. From
outside, a new noise: a motorcycle, approaching from the distance.
Biderbeck looks to Waverly; Waverly is surprised as well. They hurry
outside.

285. EXT. TENT - BIDERBECK, WAVERLY, TROUT - DAY

Trout joins them, carrying some gear, and the three look to...

286. EXT. DESERT POV. LONG SHOT TOWARD MOTORCYCLE & SIDECAR (MAJOR
BRAFF DOUBLE) - DAY

A regulations motorcycle-cum-sidecar, with one helmeted and begoggled
man at the controls--we shall learn it is MAJOR BRAFF--makes its way
toward the center of camp.

In a shower of sand and a splutter of NOISE the equipage comes to the
three. Major Braff has messy, mud-spattered goggles and mud-spattered
uniform. (PROD. QUERY: Kilts?)

The three surround him.

MAJOR BRAFF
Braff here, Major, Scottish Fusilliers. Mind identifying
yourselves, left to right?

BIDERBECK
My name is Biderbeck, Major...

MAJOR BRAFF
You're the bloke, eh?
(to Trout)
You must be Waverly then--

Braff proceeds to crush each man's hand in turn.

WAVERLY
I'm Chief Inspector Waverly, CID, Scotland Yard, I heard you were
coming with a battalion--

BRAFF
Came on ahead to recco. My men are an hour's march back. Brief
you completely soonest.
(to Trout)
Leaving you as--

WAVERLY
My man Trout.

BRAFF
(looking around camp)
Not very military hereabouts is it? Area needs policing...well,
no matter, why I'm here.
(looks at watch)
Eleven minutes behind schedule. No matter. Most unusual
experience, maps all show permanently dry waddy eleven miles
back. Monstrous depression. No reason to doubt military maps,
what? Plunged down the bank, found myself up to the hubcaps in
water. Absolute flash flood, queer, eh?

BIDERBECK
(all ears)
Water?!

BRAFF
Seemed like that whole bloody mountain sprung a leak.

BIDERBECK
Major--say that again--

BRAFF
"Seemed like that whole bloody mountain sprung a leak."
(a critical look)
Don't like to repeat myself, Biderbeck, very civilian habit, not
military.
(touches ear)
First time. Once only. Sharp, right?

BIDERBECK
But what--

BRAFF
Sky as blue as Sussex in May. Incredible, whole river of water,
probably seep away by the time you go back. Old Bedouin on a
camel on the opposite bank, very poor English, matter of fact,
but finally made sense of him, going through all sorts of
rigmarole about superstitions and legends, last time it happened
four hundred, five hundred years ago, some fanciful myth...Enough
of that! Now, Waverly, you're the ranking individual here fill me
in on this Phibes bloke, never been spotted, I understand, but
causing all sorts of trouble...Four murders suspected, that
right?

WAVERLY
Five, Major. A grisly one last night.

287. FEATURING BIDERBECK

The emphasis has gradually shifted to Biderbeck, who, once he heard
about the river flowing from the mountain, has been thinking a mile a
minute. Now he knows the research is being proved accurate...and he must
somehow get to that mountain.

BRAFF
Hm. Bad news. Lax security in camp, eh? Won't happen again.
Understand this fellow's probably skulking about that mountain?
Bloody big pile. Done it before. Big bang...couple of dozen
sticks should do it...bastard comes out. Good news.

WAVERLY
Major, I'm delighted you're here and taking charge--I've got the
entire camp under control, we're ready to start moving out--

BIDERBECK
Almost, Inspector Waverly--

BRAFF
One plan, one leader, one set of orders, right, Biderbeck? Want
to be briefed first thing after a wash-up, don't like standing
around in a filthy uniform, bad example--

WAVERLY
Major, if I may...The moving out of the camp in toto will require
some planning and logistics, we'll have to be shown where we can
expect to meet up with your men...

BRAFF
All mapped out. Good news.

WAVERLY
...But I am very concerned about Lady Diana, who has also
expressed very clearly to me her desire to leave...

BRAFF
Good God, man, where is she? Ought to keep women in full sight at
all times, no sense of direction out here, sunstroke, no telling
what--absolutely, must send her back with a driver post haste--You
have a driver left?

WAVERLY
Indeed we do. Former Captain Hackett.

BRAFF
Don't stand around, man, get this Hackett, bundle the passenger
in, check fuel, carry extra water, and be off!

The CAMERA SLOWLY PANS AWAY from the group of men, past Biderbeck
thinking many things...to...

288. EXT. TENT POLE AT TOP OF TENT - THE EAGLE

The eagle sits somewhere on top of a tent pole. CAMERA MOVES IN VERY
CLOSE to his leg. There, attached to it, is a 1930's miniature
microphone.

CAMERA PANS AWAY TO "emptiness" of sand and sky...

FAST DISSOLVE TO:

289. EXT. PHIBES OBSERVATORY - PHIBES - DAY

A Phibes resorting to every trick in his book is by the telescope, but
not looking through it at the moment. He is fiddling with a special
attachment to his ear mechanism...a miniature copper aerial, suspended
about eight inches from miniature pole to miniature pole, the whole
linked to his audio-sensory unit.

Phibes fiddles with a dial. We hear filtered, with a bit of static:

BRAFF'S VOICE
Ah, Lady Diana! Braff, Major, Scottish Fusilliers, at your
service!

DIANA'S VOICE
Thank you, Major Braff...I am completely in your hands...packed
and ready to leave this camp at once.

Phibes smiles. He now does go to the telescope and looks at...

290. EXT. BIDERBECK CAMP - FULL SHOT - DAY (OPTICAL) - BIDERBECK,
DIANA, TROUT, WAVERLY, BRAFF, HACKETT

The nuances may not be apparent at this distance, and obscured as they
are from time to time by the individual's going into tents, behind
vehicles, etc., but...Hackett and Trout load Diana's luggage into a
vehicle...Diana pointedly avoids speaking to Biderbeck...Waverly and
Braff chat, then go into the main tent...Perhaps Waverly makes a cube
one-foot square with his hands, demonstrating the strange fate of Baker,
to which Braff shows displeasure...

291. PHIBES AT TELESCOPE

He has seen and heard as much as he needs to. In a swoop of cape he
disappears down into the mountain.

CUT TO:

292. EXT. BIDERBECK CAMP - DIANA, HACKETT - DAY

With courtesy Hackett opens the door to the back seat of the car for her
and she gets in. Her face is set; she will not show any emotion of any
kind. Hackett stows her luggage in the front seat. He makes sure he hast
he maps, etc. Gets behind the wheel.

293. CLOSE DIANA IN CAR

"By coincidence" she must check her makeup. She is looking into her
compact mirror through the rear-view window.

294. INSERT BIDERBECK IN MIRROR

295. EXT. BIDERBECK'S TENT - BIDERBECK

His face, too, is set...and he may be too proud to make the first
gesture. But he watches--grimly. The SOUND of the engine starting.

296. DIANA AND HACKETT IN CAR

She closes the mirror with determination.

DIANA
May we go?

Hackett puts it in gear and they are off.

CUT TO:

297. EXT. DESERT - LONG SHOT - DIANA'S CAR - DAY

Run-through if available from Second Unit. (For Production Board
purposes.)

298. CLOSE BIDERBECK

--watching the car o.s. The SOUND has faded out completely. He looks one
more time, then goes into the tent.

299. EXT. DESERT - DIANA'S CAR - RUNTHROUGH - DAY

Second Unit possibilities for time lapse purposes.

300. INT. DIANA'S CAR - DIANA - DAY (PLATES?)

She is upset and sad...and a tear brims for a moment...but she wipes it
away. With a nervous gesture she looks at her watch.

301. INT. DIANA'S CAR - HACKETT DRIVING - DAY (PLATES?)

For coverage.

302. INT. DIANA'S CAR - DIANA AND HACKETT - DAY (PLATES?)

It is a boring ride...she looks from side to side...then frowns. Peers.
Decides she does indeed see something. Taps Hackett's shoulder.

DIANA
I say...Look over there on that dune...Isn't that--?

Hackett looks also. Slows down.

303. EXT. DESERT POV. TOWARD DUNE - FUSILLIERS MARCHING - DAY

Up against the sky, there are several FUSILLIERS, playing bagpipes,
marching off in the wrong direction to make Camp Biderbeck.

304. DIANA'S CAR

--stops.

305. POV. TOWARD FUSILLIERS - DAY

Now the bagpipes are DEAFENING, with no automobile motor to compete with
and we can even HEAR the sound of MARCHING FEET in the sand.

306. AT DIANA'S STOPPED CAR - DIANA AND HACKETT

Hackett SOUNDS the horn long and loud, but it obviously isn't going to
be heard over the bagpipes.

DIANA
They're headed the wrong way!

Hackett gets out of the car, SHOUTS:

HACKETT
Over here!...Yo! Fusilliers!...HEY!

307. THE FUSILLIERS

As before.

308. DIANA AND HACKETT

HACKETT
I'm sorry, Miss, I'm going to have to stop them...

DIANA
Of course...Hurry!

Hackett intelligently grabs his head-covering and starts off across the
sands, SHOUTING at them.

309. DIANA

Anxious. Sits back in the seat. Now that there's no motion, it's hotter;
she fans herself, all the while watching...

310. HACKETT RUNNING AFTER FUSILLIERS

They seem to have gone over the ridge and out of sight.

311. CLOSE ON FUSILLIERS

Now we can see that the "Fusilliers" are the clockwork musicians in
kilts, "playing" bagpipes.

312. CLOSE ON ONE MUSICIAN

He carries a portable Victrola, whence comes the SOUNDS of the bagpipes
AND a sound-track of marching feet.

313. AT CAR - DIANA

As she watches, and leans forward the better to see, a SOUND of a door
opening...and she looks to...

314. DIANA AND VULNAVIA - AT CAR - DAY

Vulnavia, a sweet smile on her lips, is opening the door.

DIANA
Oh--! You came out on the Empress of Quebec, too!
(extends her hand)
I know we were never introduced, but I'm Diana Trowbridge!

Vulnavia smiles. She seems to be holding something in the hand which she
extends.

315. EXT. DESERT - HACKETT

He is following tracks in the sand.

316. AT DIANA'S CAR - CLOSE SHOT - PHIBES

The bonnet of the car is up, and it would seem that Phibes is doing
something with a two-inch diameter hose. Just a flash.

317. HACKETT AND MUSICIANS

Hackett comes to the musicians...and while he can't make head nor tail
of what this is all...he knows that something is definitely not pukka
when the Victrola winds down and the illusion is shattered. Completely.
He quickly turns back toward the car...Runs.

318. EXT. DESERT - LONG SHOT - PHIBES' ROLLS - DAY

It is speeding of the main track and out of sight, leaving Diana's car
exactly where it was.

319. HACKETT

--reacts to this shattering sight. He runs as fast as he can to his car.
No Diana!

320. AT DIANA'S CAR - HACKETT

He looks through the windshield after the disappearing Rolls.

321. INSERT TOWARD IGNITION

Hackett turns the ignition on and pushes the starter. A grinding noise.

322. INSERT TOWARD DASHBOARD

One of the instrument dials is blown off and from its aperture comes an
unending rush of sand under great pressure.

323. CLOSE HACKETT

Poor man! His face is getting the full force!

324. INSERT TOWARD GEARSHIFT

The gearshift kicks into gear. The sandblasting continues.

325. EXT. DIANA'S CAR

It starts to move back down the road in reverse. The SOUND of the sand--
perhaps the sight of same--is terrifying.

CUT TO:

326. EXT. BIDERBECK TENT - BIDERBECK, TROUT, WAVERLY, BRAFF

Braff is pulling rank on Biderbeck:

BRAFF
I will brook no balking, Biderbeck! I am responsible for the
safety of all civilians under my command and you are that! If you
refuse to pack, I'll see that it's done for you! Hope one doesn't
resort to that, not a British gentleman. Bad news. Want good
news, right?

They all turn at the strange SOUND of the car approaching...and the
sight of it as well.

327. DIANA'S CAR

--backs up in a straight line, knocking aside a Lister-bag unit and
crashing into another vehicle, where it comes to a dead stop.

328. ALL

BRAFF
(to Waverly)
You actually see this man Hackett's driver's permit?

But Biderbeck and Trout are already running to...

329. AT DIANA'S CAR - BIDERBECK AND TROUT

Biderbeck throws open one of the back doors--Diana's--whilst Trout is
opening a front. They react to...

330. INT. DIANA'S CAR

A fine shower of sand is just coming to its end from the dash...and the
last powder settles even now. What it settles on is as follows:

The highly-polished skull of Hackett is all that remains of that
section, but everything else about Hackett is stet--his clothed arms
outstretched to the wheel, and so on. The entire car is filled with sand
to a depth of a couple of feet...a veritable sandbox in the back seat,
of course, fully covering the seat proper and the leg space.

BIDERBECK
Diana--!

TROUT
(simultaneously)
Good God!

Waverly and Braff appear. Biderbeck is feverishly digging in the sane
for Diana.

BRAFF
What?...Very bad news.

TROUT
(to Waverly)
Sir, if I may venture a guess, this is so typically Phibesian--

WAVERLY
TROUT! Mr. Biderbeck! Any sign of Diana?

BRAFF
Any sign of anything?

By now Biderbeck has dug enough to learn that she is not there...but her
fate, God knows, could be even worse...

BIDERBECK
No...She's...she's vanished.

BRAFF
(looks at watch)
I can see I'm going to need an alternate plan...
(looks it all over)
He must be a fiend--Trout...Take care of...him. Probably comes
under a Special Situation Section, military burial, right?
(to Biderbeck)
Mr. Biderbeck! I'll want you at the briefing, sir!

He and Waverly exit. Trout starts to remove Hackett.

331. BIDERBECK

He leans into the car, drained, at a loss, stunned. He feels something.
He takes it out from under the sane where it was placed on the seat. It
is a miniature Sarcophagus, complete to the last detail.

Biderbeck reacts. He turns the little snake's head...The lid opens.
Biderbeck reacts.

332. INSERT MINIATURE

A folded piece of paper lies therein. Biderbeck takes it out. Reads:

COME ALONE

333. BIDERBECK

--looks off to The Mountain.

334. AT TENT - BRAFF

BRAFF
Mr. Biderbeck! Now!
(goes inside)

335. BIDERBECK

He has made up his mind. He puts the message from Phibes into his
pocket...and from the same pocket takes out the key.

BIDERBECK
(calls to Braff)
Righto, Major!

He then replaces the key in his pocket and starts toward the tent.

336. BIDERBECK

--picks up his desert hat where it is lying outside, and surreptitiously
walks away from the tent where Braff and Waverly are inside. He is
heading toward The Mountain.

CUT TO:

337. INT. ORGAN AREA - PHIBES AND VULNAVIA

Vulnavia is engaged in an abstract Tour de Danse as Phibes is running
arpeggio after arpeggio up and down the keyboard with impressive skill.
His own emotional spiral is being built...and by the same token the
music itself is helping fan the interior flames.

After the greatest arpeggio of all, we can sense that the major theme is
ready to be developed, and indeed a melodic line can be distinguished:
"Somebody Stole My Gal!"

338. EXT. CAVE ENTRANCE - ANGLE TOWARD SAND - DAY

Footprints in the sane...which camera establishes are those of...

339. BIDERBECK

He stands at the mouth of the cave, knowing that somewhere inside lies
the answer to many things...perhaps to All Things. He moves inside. He
shines his flashlight, without which he would never travel away from
camp.

340. INT. CAVE BIDERBECK - SEVERAL CUTS

To establish his progress. He traverses areas we have seen before.

CUT TO:

341. PHIBES PLAYING & VULNAVIA DANCING

The noise is DEAFENING.

CUT TO:

342. INT. CORRIDORS - BIDERBECK

He makes his cautious way. He begins to hear the ORGAN PLAYING. He
presses relentlessly onward. He thinks he glimpses a--is it a beam of
light in the distance? It is! He snaps off his own flashlight...yes, it
is light...and that IS music! CAMERA TILTS DOWNWARD to CENTER on
Biderbeck's RUNNING FOOTSTEPS.

CUT TO:

343. INT. ORGAN AREA - ANGLE PAST PHIBES TO A PASSAGEWAY

Beyond Phibes there is a passageway in the rock which we may not have
noticed before. It is large enough to have a man stand within it. From
this comes the SOUND of Biderbeck's echoing footsteps.

Phibes cocks an ear thereto. He has come to the end of his song, and
does not begin another. Vulnavia stops dancing. The FOOTSTEPS re-echo
hollowly. Phibes stands. Waits.

344. INT. CORRIDOR - BIDERBECK

--hesitates as the music no longer gives him a beam...but there is
light...now a bit stronger. He follows it.

345. INT. ORGAN ROOM - PHIBES, BIDERBECK, VULNAVIA

The footsteps grow louder. Suddenly Biderbeck appears in the passageway-
-a silhouetted figure of strength. The men face each other across a kind
of void.

346. CLOSE PHIBES

He has waited for this!

347. CLOSE BIDERBECK

He has waited for this!

348. ALL (LIGHT CHANGE)

In the brains of both men trumpets are sounding as if for the
commencement of a joust--which might be To The Death.

Phibes plugs in his neck mike...and as he does, a dramatic spotlight
picks out him...and his adversary. With this additional light, we note
for the first time that something new has been added...a delicate scrim
cuts off our view of part of the room. Toward this Vulnavia now goes...
exits.

PHIBES
So, Mr. Biderbeck...at long last we meet face to face. I am glad
you have the knowledge to find me...and the courage to come.

BIDERBECK
Where is Diana!?

PHIBES
You may see her in a moment...in fact, you may yourself unlock
her door...with the key I know you have!

Biderbeck takes out the key, holds it almost tauntingly.

PHIBES
Of course. A lucky find for you. Biderbeck...a twist of fate
against me.
(holds out hand)
Give it to me, Biderbeck...and Diana will be returned to you.

BIDERBECK
You think me a fool, Phibes?! You underestimate me! I too have
studied the archeological history of this mountain, its legends,
and records known to few other men! I have studied them longer
than you yourself! Don't you think I know what this can unlock?

PHIBES
No! Only I now know! You are close to the secret, yes...But only
I, standing in this room have deciphered the last secret of
all!--Give it to me, Biderbeck! It is of no use to you otherwise!

BIDERBECK
I will decide what use it is to me!

PHIBES
(growing anger)
Every minute that you wait you will regret!

BIDERBECK
Don't you think I know the unique position of this mountain? The
great forces in the heavens which are coming into conjunction
above this very spot even as we talk!

PHIBES
Then you know there is no time to lose! Do you love Diana?

BIDERBECK
Why do you want this key? What does it mean to you?

PHIBES
(thundering)
I ask you one more time: DO YOU LOVE DIANA?

Biderbeck hesitates--he looks at the key.

WHERE'S the last part????

Don't keep me hanging!!!!

Thank you so much for posting this! I was lucky enough to see both Phibes films in their original releases and have always been a big fan of them.