Hispaniola "Pilot"

Written by Adam Federman

MAJOR CHARACTERS

Diego Navarra: Seasoned Captain of La Serenidad, he captainsmaritime trade and commerce voyages for the far-reachingSpanish Monarchy. Despite the fancy job title, Diego is justone person in a whole empire of people trying to survive,and wages are low. Poverty has forced him to take up piracyby moonlight. He has spent nearly his entire life at sea.

Jeru Kalibuk: Once a Senegalese king, Jeru became a victimof the Atlantic slave trade when his people were betrayed byone of their own and sold to Portuguese slave traders. Hewas shipped to Spain on La Hispaniola.

Mateo ? : Mateo is a young Spanish boy who lives on thestreets and steals for a living. His earliest memory is lifein an orphanage, from which he ran away. He is tough, brawlswith boys bigger than himself, and claims to have stolenvaluables from the King of Spain’s own bedroom.

Monica ? : Like Mateo, Monica is a street kid. She’s eight.Her impoverished parents abandoned her long ago. She teamedup with Mateo after he found her maimed by a carriage wheeland nursed her back to health. She calls Mateo her brother,and she his sister. She has never forgotten the one time shetasted chocolate.

Wilder: A massive English sailor, late 40s. Reliable,capable, and raised by the ocean, he is Admiral Costa’snavigator and right hand man.

Admiral Costa: An admiral of the Spanish Navy, mid 40s,decorated war hero, wealthy socialite, and well-respectedexplorer.

Jeru Jr.: A young Senegalese slave aboard La Hispaniola. Hismaster is the brutal cook.

COLD OPEN

We open with an extreme long shot high above a seaport citylit by a full moon. Down at the harbor, where sea firstmeets land, we see the sleeping, retired side of bustlingport whose livelihood is its business and commerce.

Everything is packed in tightly, creating a dense maze ofnarrow stone streets and close quarters. Docks eroded bycenturies of feet and hooves reach out to large ships andsmall sloops that sway and shutter in the wind. Rundowndockhouses neighbor cozy shops and huge businesses with darkwindows and "CLOSED" signs above their locked doors.Scattered pubs barely give off muffled sounds of laughterand music.

2.

Back to the extreme long shot. Slow text across the screentells us where and when we are:

MALAGA, SPAIN.

1599 A.D.

Far beyond the city’s harbor, the dark ocean stretchesendlessly and reflects rays of moonlight. It is quiet. Fromfar out in the silent sea, a gigantic BOOM erupts andreaches the harbor. Nothing follows, just silence. Thenanother. BOOM. This one shakes the ground. We hear doorsswing open, loudening the pub sounds, and excited voicesfrom the harbor below.

VOICE (O.S.)What the hell was that?

OTHER VOICE (O.S.)Someone alert City Guard!

Lamps begin to flicker on in windows around the port. Morevoices stir, dogs howl. BOOM. The ground rocks ferociously.This time, a ball of fire lights up the sky far out at sea.Beneath the flames we glimpse two ships in side-by-sidecombat. One has caught fire. We zoom forth.

EXT. DOMINICA DECK - NIGHT

DIEGO NAVARRA’s face slams hard into the ship’s deck.

A huge piece of flaming wood crashes to the deck feet awayfrom him. In painted, smoldering letters it reads: LASERENIDAD. Diego rolls over and slowly opens his eyes asfire rains down around him. We hear what he hears - RINGING- and see what he sees - CHAOS. His breathing is heavy anderratic. This man’s in shock. Bodies lie scattered about thedeck, some stirring, others not. Bedraggled looking men runabout in terror. Smoke chokes the air. The RINGING soundslowly fades from Diego’s ears and is replaced withSCREAMING and GUNSHOTS.

Diego stands up shakily. The burning ship GROANS and swayshard to one side, tossing Diego and others across deck. Heslams into the ship’s railing and slumps to the floor.SCREAMS of pain still sound out. Stunned, Diego blinks.Then:

DIEGOARMS, MEN, TO ARMS! Fight back!

(CONTINUED)

CONTINUED: 3.

Diego rises like lightning and dashes down the deck towardsits helm. BOOM. Another cannonball crashes through theship’s hull behind him. SCREAMS. Men fly out of sight, woodexplodes into sharp splinters. Rifle shots ring out from thedarkness where the cannonball came from - ZIP - a man infront of Diego takes a bullet and his head POPS. Diegofreezes, looking at the bloody mess in front of him. Heturns towards the source of the shot.

Through the darkness and smoke, but clear now, looms a HUGEman-of-war, much bigger than Diego’s own ship. Across theside reads the ship’s name: LA HISPANIOLA. Cannons line theship’s side, and high above it flies the SPANISH FLAG.

DIEGOForm up and RETURN FIRE!

The still-alive sailors, about twenty of them, lunge to theship’s rails and fire into the darkness. A SCREAM echoesout.

DIEGO(still running towards thehelm)

Don’t relent, open fire! Eduardo,Lionel, man our cannons!

VOICE (O.S.)Captain Navarra, they’re gone! Thecannons are GONE, sir!

Diego stops as the ship’s helm comes into view through thesmoke. He thinks quickly.

DIEGOPut out the flames, we’ll lose themin the night!

Several sailors drop their guns, frantically fill anythingthey can find with the sea water running overboard, and tossit on the rising fire. The flames lick and bite the ship’sdeck ferociously. One young sailor, looking terrified,flings his bucket aside.

SANDROThe flames are too great, Captain!We’re lost!

DIEGOThen return fire! Die before youlet them board!

(CONTINUED)

CONTINUED: 4.

Diego’s almost reached the steering wheel when - BOOM - acannonball rockets past him - and obliterates the ship’sgiant wheel. He reels backwards, staring in disbelief. Helooks around wildly.

Beat.

Then we hear a CREAKING noise. Diego’s eyes widen inrecognition - it’s a sound he knows. He whirls around andsees SANDRO tugging on the pulley of the flag mast - CREAK,CREAK. With every one of Sandro’s pulls, a huge red andwhite canvas lifts a little further from the ground. It isthe flag of Royal Spain.

DIEGONo! Sandro, stop!

SANDRO(still hoisting)

They mean to kill us, Captain! Wemust show them we are theircountrymen!

DIEGOThey’ll kill us for treason if theytake the ship! Stop, sailor, that’san order!

Sandro ignores him and hoists even more desperately now.

DIEGOStop now, lad, or I’ll shoot.

Sandro stops, hands still on the pulley, and looks at hiscaptain. Diego has a flintlock pistol trained on the boy’shead. The flames have grown to a burning ROAR around them.GUNSHOTS still crack every few seconds and the SCREAMS havenot ceased.

BOOM.

A cannonball rips through the deck at the back of the ship,sending shattering tremors through the hull.

Beat.

Sandro hoists on the rope for dear life. CRACK. The boyfalls under Diego’s smoking barrel.

Another volley of rifle shot tears through the mast highabove, snapping Diego back to reality. He pulls a knife fromhis waist and slashes the flag rope, sending it flingingupwards. He jumps over the dead Sandro and runs through the

(CONTINUED)

CONTINUED: 5.

flames to a hatch door on the deck as the Spanish flag fallsto the ground behind him. He rips the hatch open and divesinto:

INT. LA SERENIDAD LOWER DECK - NIGHT

Diego tears down the steps of a dimly lit room. Nothingappears out of the ordinary. The room looks like a standardset of provisons for a ship on a voyage. Barrels of saltline the walls and a rack of muskets stands near the stairs.A stack of books and maps sits on a desk next to a spyglass.Pieces of wood for burning are stacked to the side and a rowof fur coats hang on a rack.

At the back wall is a door marked "CAPTAIN’S QUARTERS." Thesounds above are muffled, and for a moment, it is almostpeaceful. In the corner there is a large heap of somethinghidden under a big canvas. Diego darts forward tears thecanvas away to reveal about twenty wooden crates, eachroughly three feet tall. Printed across the front of eachcrate:

"PROPERTY OF KING PHILLIP II,

VIOLATORS PUNISHABLE BY DEATH."

Diego kneels before the closest crate and slides the topback, exposing it’s shiny contents. It is brimming withbright pieces of gold and silver. Not just coins, but solidrocks of the precious metals.

DIEGO(whispering)

I can’t...I can’t...

He caresses the crate, drawing his hand through thetreasure, listening to the JINGLING sound it makes. He restshis forehead on the rough wood for a moment. Then he standsup briskly and yells above deck:

DIEGOJettison the riches! Throw thetreasure overboard!

He quickly turns, rushes to the door marked "CAPTAIN’SQUARTERS," and throws it open. He darts inside and emergesclutching an emerald-colored paperback that looks like ajournal. Diego flips through the pages. Within, we seeerratic diagrams, illustrations, measurements, and drawingsthat resemble what, today, we might recognize as a solarsystem. Diego clutches the journal to his chest, then shutsit. He grabs a piece of rope from the floor, lifts his pant

(CONTINUED)

CONTINUED: 6.

leg, and ties the journal to his calf, tight. He rolls hispant leg back down, grabs the open crate of gold, and rushesfor the stairs, back in combat mode.

He freezes halfway up the steps - he’s just noticed for thefirst time that all has gone quiet above deck. He cranes hisneck, listening - nothing. His shoulders sag and his headdrops. Quietly, he removes one small rock of gold from thecrate and slides it into his shoe. Then, still holding thecrate, he opens the hatch and looks out. He’s face to facewith the gleaming tip of a sword. Five menacing SpanishImperial Guards, dressed in full military attire, glare downat him.

Most of the flames have been put out. The several remainingmembers of Diego’s crew are in chains, slumped against theship’s rail. La Hispaniola looms behind them, boardingplanks stretched between the two ships.

GUARDCapt. Diego Navarra of LaSerenidad, you are hereby chargedwith treason and piracy against theRoyal Empire of Spain.TITLE SCREEN: HISPANIOLA

ACT ONE

INT. MALAGA MAGISTRATE’S COURT - MORNING

MAGISTRATEIt all makes sense to me now, Capt.Navarra.

Diego looks up. He is a tall, broad-shouldered man with longhair, a thick beard, and a lean in his posture his mothercouldn’t coax out of him. His looks are mid-30s but his realage is 43. He stands in front of the magistrate’s bench,hands and feet bound by coarse rope. Two guards stand alertbehind him.

MAGISTRATEYou’ve been leading a double lifefor some time. Captain by day,pirate by night. You pilot commerceexpeditions for the Crown?

DIEGOThat’s right.

(CONTINUED)

CONTINUED: 7.

MAGISTRATEAnd last night you siezed a goldgalleon, stole its prize, and leftno survivors. Home free, until LaHispaniola showed up.

DIEGORight. Careless, I know. Everyoneknows galleons have an escort ship.

MAGISTRATEHow did you manage to keep the samecrew for two years? Rotations aremandatory-

DIEGOI make a lot of money for HisHighness. Enough to earn a littletrust in how I run my ship.

MAGISTRATEAnd this crew’s loyalty? Surelythey weren’t all pirates at heart.You forced them to participate andlie for you?

DIEGONo. They needed the money even morethan I did. Do.

MAGISTRATEAnd just like that - cold bloodedkillers?

DIEGOJust like that. Maybe our graciousking ought to share more with usfolks trying to survive out there.We’re just little people in a bigempire.

MAGISTRATEThere are other ways to survive,Capt. Navarra, than to become anenemy of mankind. In Malaga, anenemy of mankind is exactly whatyou are. Are you aware of thetremendous level of money and lifepirates have stolen away from thepeople of this city?

(CONTINUED)

CONTINUED: 8.

DIEGOVery.

MAGISTRATEYou have ruined the lives of morehonest Malagans than I care toname. You are hereby sentenced tohang in the gallows. You’ll remainin Malaga’s jail until you swingtomorrow morning, if you survivethat long. I would stay on theseguards’ good side if I were you.

The guards grab Diego.

EXT. COURT STEPS - MORNING

The doors to the Magistrate’s court fling open and we aremet with a ROAR. Diego shields his eyes from the sun,causing him to stumble over his bindings. The two guardsyank him to his feet. A huge crowd mobs the city square andthe foot of the steps, held back only by a row of mountedguards carrying pikes. The crowd surges forward as themounts form a circle around Diego.

MANKill him! Kill that pirate!

WOMANFor Manuel Castille, of ElMarinero!

WOMAN 2For my brother, Capt. JulioObregon, of La Flora!

Vengeful citizens pelt rocks at Diego that strike him andCLANK off of the guards’ chest plates. The JEERS and INSULTSare deafening.

CROWD VOICEHand him over!

GUARD(brandishing his pike)

All of you, back!

Diego shields his head as the guards lead him down the stepsto the street, where a mounted guard waits with what isessentially a wooden cage on wheels.

(CONTINUED)

CONTINUED: 9.

MAN 2Kill him for my daughter, my deargirl! Luna, of La Bandera!

Two guards throw Diego into the cage, slam the door, mounttheir horses, and follow the carriage while the remainingguards handle crowd control.

EXT. MALAGA COAST - MORNING

We look over a beautiful ocean landscape that could be thecoast of a Caribbean island if we didn’t know better.Between us and the sea lies a sandy beach, then a mile ortwo of dense, green forest. The forest gradually risestowards us, then turns into a steep incline, and finallyplateaus into a ridge at our feet.

The entire ridge is a dirt road along which Diego’s mobilecage bounces. To his left is the steep embankment. To hisright is more forest followed by the spires and buildingtops of Malaga from whence he just came. Diego watches thesea drift by as they travel along the ridge. One of theguards riding beside him has been glaring straight at himfor some time.

DIEGODecided on the scenic route, eh?

No reponse from any guard. The one guard still staresunwaiveringly. After a moment, they roll to a stop.

DRIVER GUARDThis is far enough.

The glaring guard dismounts.

DIEGOFar enough for what?

They ignore him.

GUARD 1I can trust you both?

GUARD 2As far as I’m concerned, a wheelsnapped and sent the cage tumblingover the ridge.

The driver and the other guard face away from Diego. Guard 1draws his sword and approaches the cage.

(CONTINUED)

CONTINUED: 10.

GUARD 1May I live to see the day when thepirate is no more. Today, therewill be one less. For Capt. MiguelMoreno, of La Vengaza.

Diego realizes what’s happening.

DIEGOYou are a coward for this.

The guard levels his weapon, moving to skewer Diego throughthe wooden bars.

VOICE (O.S.)(very faint)

Stop that boy!

Diego and all three guards jerk their heads towards thesound. Something draws near from down the dirt road. A cloudof dust shrouds around whatever it is, making itunidentifiable, but we can definitely hear hooves clatteringfuriously - ZOOM - a horse carrying a small, filthy childwith a sack over his shoulder dashes by at lightning speed.He zooms down the road, kicking up dust behind him.

DIEGOWow!

From the other direction, a mounted guard rides towards thegroup, moving much slower than the boy who just blew past.

GUARD 2(yelling, pointing afterthe lightning kid)

That boy?

CHASING GUARD(yelling back)

Yes, that boy! Out of the way, allof you!

He hurtles towards them in hot pursuit of the boy, almost tothe group. The guards step off of the road, leaving thepursuer room to get around the cage. Diego sees his chance.

DIEGO(whispering)

Sorry, horsie.

One...two...he throws his weight against the side of thecage, leaning into the bars with all his might. It tips overand crashes to the dirt, fully blocking the guard’s path -

(CONTINUED)

CONTINUED: 11.

CRASH - the horse smashes into the cage with it’s torso.Wood SHATTERS and SPLINTERS everywhere. The chasing guardgoes flying. Dust flies, COUGHS and GROANS of pain follow.

GUARD 1(shaking the stars from hishead)

Navarra, grab Navarra!

The dust clears, revealing a scattered mess of blood andbroken wood, but no Diego.

EXT. MALAGA FOREST - DAY

Branches CRACK and WHIP and the ground SHAKES as Diegotumbles down the embankment away from the ridge. He stiflesa CRY as he lands on his back, hard, and keeps rolling.Birds CALL around him and the world spins. The groundfinally evens out and Diego crashes to a stop.

DIEGOOw.

He sits up, shaking his head and groaning. He looks aroundhim. Nothing but forest, and the faint sound of WAVES. Hespots a nearby rock and crawls towards it. He lifts his armsand begins sawing away at his rope shackles. Suddenly theground trembles. Diego looks up as a foot kicks him on tohis back.

The lightning boy on horsback looks down at him from hishorse, still with a sack slung over his shoulder and nowbrandishing a knife. He can’t be more than twelve years old.His skin is filthy and his long hair is greasy and sticks tohis face. He wears nothing except a pair of trousers held upby a rope belt. Despite his age, he is muscular.

LIGHTNING BOYDon’t move. Are you armed?

DIEGODo I look armed to you?

LIGHTNING BOYNo.

DIEGOWell? What do you want?

LIGHTNING BOYI’m Mateo. You helped me backthere.

(CONTINUED)

CONTINUED: 12.

DIEGOI helped myself.

MATEOYou must be Navarra, the pirateeveryone’s talking about.

DIEGOSome say pirate. I sayentrepreneur.

MATEOWell if we’re using loose terms,I’m a bit of a pirate myself.

DIEGOAre you now? Seizing a horse andsome pocket change isn’t piracy.

MATEOI owe you. Here.

Mateo hops down from his horse and takes out his knife.

MATEOYou try anything, and I’ll stickyou with this faster than you canblink.

Diego nods. Mateo cuts Diego’s bonds and mounts his horse.He turns to leave.

DIEGOWait! Do you know of any shipsoutbound from Malaga? I cannot stayin this country.

MATEO(turning back)

It just so happens I’m skippingtown on a ship leaving tomorrow. LaHispaniola.

DIEGOShow me.

MATEOYou only helped me once, I returnedthat favor.

VOICE (O.S.)Not over here!

Diego whips his head towards the sound.

(CONTINUED)

CONTINUED: 13.

VOICE (O.S.)Check further down the beach! Shoothim on sight!

DIEGO(urgent now)

Please, show me!

MATEOSorry, pirate, my business here isdone.

He turns his horse to leave again.

DIEGOWait! Wait, I have this!

Mateo stops. Diego takes off his shoe.

DIEGOHere!

He holds out the piece of gold.

MATEOIs that...is that gold?

DIEGOYes! It’s yours, just take mesomewhere safe.

Mateo eyes Diego warily, then the gold greedily.

VOICE (O.S.)(closer now)

I think I see something!

MATEOGet on.

Diego swings over the back end of the horse.

INT. KING PHILLIP’S CASTLE - DAY

A tall naval admiral in a royal blue uniform,well-decorated, hands folded behind his back, head bowed,stands in a very dark space. Light filters from a windowhigh above, just barely illuminating the man. The room couldbe the size of a confession box or a gymnasium; we can’ttell yet.

(CONTINUED)

CONTINUED: 14.

VOICE(deep, hypnotic)

Tell me, Admiral, are you preparedto return to me victorious?

The booming echo following the voice tells us that this is avery big room indeed, like a banquet hall.

ADMIRALYes, Your Highness.

HIS HIGHNESSDo not compromise yourself,Admiral. Speak now if you lack anyprovisions. I have spared noexpense on this voyage. For such agreat price, I expect an evengreater return.

The Admiral looks up. We can now see the faint outline of afigure on a high throne. The figure’s eyes glimmer in thedark.

ADMIRALThe crew is complete with 85 menand 15 women of various nationalorigins, none of whom are fromMalaga. Sharpshooters, surgeons,doctors, carpenters, cooks,fishermen, hunters, songstresses,seamstresses, harlots, a priest,even a few child jesters. 80horses, 60 cattle, 50 hogs, and 20hounds were loaded this morning. 30Senegalese negroes - the labor -are stored in one of the ship’scargo cells, and 8 young servicenegroes are tending to the crew aswe speak. La Hispaniola has beeninspected, repaired, and inspectedagain. Food stores abound, thewater supply is in surplus, andthere is enough rum to keep thecrew content for the entire voyage.Cannonfire also needs noreplenishing...I fear, however,that we lack sufficient weaponry.Rifles and flintlocks, yourHighness, and sabers.

HIS HIGHNESSThen you shall have them. They willload in the morning as you depart.

(CONTINUED)

CONTINUED: 15.

ADMIRALThank you, King Phillip.

KING PHILLIPFour others have failed before you.Do you know why I chose you forthis voyage, Admiral Costa?

ADMIRAL COSTAI am the best mariner on the seas,Your Highness.

KING PHILLIPThis voyage depends on more thanjust your seafaring prowess,Admiral. Your reputation forruthlessness qualified you beyondyour competitors.

ADMIRAL COSTAI take my duty seriously, YourHighness.

KING PHILLIPThen understand the gravity of thevoyage at hand, Admiral. Letnothing prevent you from deliveringthe shining wealth of the Americasto my hands. Return empty-handed,and I will greet you with death.Disappear for any reason other thanyour death, and I will find you.

ADMIRAL COSTAOn my honor, Your Highness, I willnot disappoint you.

Admiral Costa waits in the pool of light, head bowed again.Several moments of silence pass.

ADMIRAL COSTAMay I withdraw, Your Highness?

KING PHILLIPAdmiral Costa, you have yet to askme if I think you are ready.

ADMIRAL COSTAForgive me, Your Highness - do youhave any suggestions before Idepart?

(CONTINUED)

CONTINUED: 16.

KING PHILLIPYou did not mention a navigator inyour crew.

ADMIRAL COSTAAn Englishman named Wilder, YourHighness. He’s one of the best, anda close friend of min-

KING PHILLIPFind an astronomer.

Beat.

ADMIRAL COSTAAn astronomer, Your Highness?

KING PHILLIPYour predecessors lacked one andfailed. Perhaps the missingcomponent lies in the stars, andnot on your maps.

ADMIRAL COSTAYour Highness, I don’t see th-

KING PHILLIPChoose your next words very, verycarefully, Admiral.

ADMIRALYes, Your Highness. An astronomer.

EXT. HISPANIOLA MAIN DECK - DAY

The huge deck of La Hispaniola bustles with activity. Ifyou’ve ever imagined a full sized man-of-war, this is it.From the side, we can see three decks. The sun beats down onthe ship fiercely.

From a bird’s eye view, we start at the front of the ship,the bow, and slowly move towards the back, the stern. It’scovered in crates of all sizes. We pass over men sharpeningblades, cleaning weapons, hammering nails, raising masts,and guiding horses. Girls dance in colorful dresses and arechased by unsettling men. We hear more than a few differentlanguages. Still in bird’s eye, we reach the ship’s sternand begin to descend.

A long, steep ramp leads from the dock below up to the verytop deck of the ship. Pairs of men lug big crates and rollcarts up the ramp. The ramp meets the ship at its stern,

(CONTINUED)

CONTINUED: 17.

passes through a gate in the rail, and crosses large, squaregrate in the deck bolted shut from the outside We descendinto the grate as men push carts over it and enter:

INT. HISPANIOLA CARGO CELL - DAY

We are in a nearly pitch black cargo cell. The only light isthe little squares of sun that filters through the grate,which flicker on and off as people pass over them. 29 nudeslaves in poor-looking health sit in a tightly crowdedgroup. One man sits at the center of the group. He’s in his50’s, bald, stern, and has a voice like a bassoon.

BALD MAN(in a Senegalese dialect,subtitles translate for us)

A mutiny.

His deep voice is harsh and cracked from thirst. The otherslaves cast glances around the circle. A few moments ofsilence pass.

BALD MANWell?

SLAVE 1Yes.

Several others nod, one coughs violently.

SLAVE 2We could this.

SLAVE 3(to BALD MAN)

But Jeru, we could all die.

JERUYou say that like this enslavedlife is something to lose, likewe’re not dead already!

(sweeping his arms)Look around you. If we take theship, we go to Senegal. If we die,we are freed. Either way, we gohome.

SLAVE 4How do we do it? They have guns.

(CONTINUED)

CONTINUED: 18.

JERUWhich means we have guns, we justhave to take them first.

A slave in the back keels over with a thud. The man closestto him leans over and shakes his face, slapping him lightly.The fallen man shudders back to life. We can tell this isroutine by now.

SLAVE 2So how do we do it?

EXT. HISPANIOLA MAIN DECK - DAY

A few yards down the deck, a young slave, maybe 10 or 11years old, emerges from a doorway carrying a bowl of water.A bearded man wearing a cook’s apron appears behind him andshoves him outside.

CREW MEMBER(pointing a hand)

Over there.

The door slams. The boy follows where the man pointed andspots the gate. He scurries towards it, dodging crates andhurried feet. He kneels down over the grate and peersinside.

BOY(in Senegalese)

Hey, can you hear me in there?

INT. HISPANIOLA CARGO CELL - DAY

Jeru and the slaves looks upwards at the boy. His face ispressed against the metal.

JERUYes. Have you brought us water?

BOYYes, here.

He passes the bowl gingerly through an opening, making surenot to spill any of the precious liquid. The men each takesmall sips and pass the bowl around.

JERUYou are Senegalese like us.

(CONTINUED)

CONTINUED: 19.

BOYYes. Most of the boy-servants are,we were brought here on the sameboat.

JERUWhat is your name?

JERU JR.Jeru. My father named me after ourgreat King Jeru.

JERUDid he now? How thrilled do youthink your father would be to knowyou just served King Jeru his firstdrink of water in two days?

The boy gasps. He looks confused, then skeptical.

JERU JR.That cannot be true...thestories...where is your big hair?

JERU(suddenly aggressive)

I will not allow these captors ofours to look upon me in my trueform!

The boy shrinks back.

JERU JR.I want to believe you...but my kingwould never let himself be enslavedby these devils.

Jeru thinks in silence. The others watch him.

VOICE (O.S.)Where the hell is that negro?! Boy!

Jeru Jr. looks away from the grate in fright. We see thebearded cook shoving through the dense crew towards the boy.

JERU JR.My master is coming for me! I haveto go-

JERUMy staff! These men and I weretaken from Senegal on this veryship. My staff was brought onboard. Find it, and you will see!

(CONTINUED)

CONTINUED: 20.

The boy stands up quickly.

JERUTake the beating, young Jeru, soonwe will be free!

VOICE (O.S.)You!

A hand reaches into view over the grate and grabs the boy’sarm. He disappears with a yelp. We hear SCREAMS of painuntil they fade into the distance.

JERU(to the slaves)

That poor boy is the key.

END ACT ONE

ACT TWO

EXT. MALAGA HARBOR - DAY

A small fist hovers in front of a tin wall.

MATEOCover your ears and look away.

DIEGOWhy?

MATEOJust do it.

Diego and Mateo stand outside a small tin shack in an emptypart of Malaga’s harbor. Diego covers his ears and looksaway. Mateo KNOCKS on the tin wall once, waits, then knocksthree times rapid-fire. Mateo taps Diego, who turns backaround. There’s a RUSTLING inside the shanty, then a sectionof the tin wall slides away. A small, grimy GIRL, maybenine, peers out. She starts at Diego’s presence.

MATEOIt’s ok, he’s safe.

The girl slides the section of wall away completely andMateo ducks inside. Diego looks puzzled.

MATEOCome on.

(CONTINUED)

CONTINUED: 21.

Diego has to slide on his belly to fit through the hole, butmanages. He stands up (well, as much as the low roof willallow) and looks around. A small fire crackles under a fewpieces of meat on a spit. The smoke exits through a smallhole in the roof.

GIRL(eyeing Diego)

Who is he?

MATEOMonica, this is Diego. Diego’s thepirate.

This doesn’t seem to phase Monica.

MATEOThis is Monica, my sister.

MONICAHello.

DIEGOHi.

Monica tends to the fire. Mateo dumps out the contents ofhis sack - a dead chicken. He kneels down next to Monica.

MATEOLook what Diego gave us.

He hands her the piece of gold.

MONICA(delighted)

Oh! It’s so pretty!

MATEOI know, it’s beautiful right?

DIEGOWhere are we?

MATEOHuh? Oh, abandoned dock house.Locked at the front, our crawlspace is the only way in. It’s ourhome, but it’s all yours in a fewhours when we board the ship.

DIEGOAnd what exactly is your businesson La Hispaniola?

(CONTINUED)

CONTINUED: 22.

MATEOWe’re jesters. We saw signs forjobs on board, so we came up withour own. The Imperial Guards knowmy face here and Admiral Costaliked our tricks, so we’re movingon.

DIEGOIs Admiral Costa still hiring?

MATEOGo find out.

DIEGOYou’re not the only person peoplerecognize out there. They want myhead.

Mateo doesn’t seem to notice.

DIEGOHow well can you use that knife?

INT. HISPANIOLA NAVIGATION ROOM - DAY

We’re in a navigator’s dream room. Maps of all colors andvariations line the walls. Some show contour lines, whileothers display population density. Bookshelves hold anentire library of subjects - encyclopedias, languagelessons, ecology, biology, astronomy - the whole nine yards.The front wall is made entirely of glass and looks out overthe ocean. A huge wooden steering wheel is mounted beforethe glass. We’re at the front of the ship. In the center ofthe room is a gigantic, thick, wooden map of the world on anaxis hinged to the floor and ceiling. To us, the map isinaccurate. It depicts a flattened circle, like a pancake.At the center of the circle is a landmass marked "NORTHPOLE." To the right of the North Pole is "EUROPE." Furtherright is "AFRICA," then "ASIA." On the far right is"AMERICA." Each landmass has a color. The edge of theflattened pancake is shaded white and reads "ICE RIM AROUNDEDGE OF WORLD." Beyond that is black, marked by the words"HERE THERE BE DRAGONS."

Suddenly, the map rotates, practically shaking the room.

VOICEYou sure are somethin’.

(CONTINUED)

CONTINUED: 23.

A huge, menacing, monster of a man steps out from behind thespinning map. He admires it with his eye. Yes, eye. Hisright eye is missing. A red eye patch covers the emptysocket. His face is severely scarred by burn marks. He spinsthe map again.

A door on the side of the room opposite the glass wallswings open.

COSTAWilder!

The man snaps to attention.

WILDERYes, Admiral?

COSTAI need an astronomer.

WILDERWhat the hell’s an astrono-

COSTASomeone who studies the stars forGod knows what.

WILDERThis come from King Phillip?

COSTAYes, unfortunately. Find our man.

WILDERRight away, Admiral.

Costa disappears with Wilder following close behind. Thedoor slams shut while the map continues to spin.

EXT. MALAGA HARBOR - EVENING

A beardless, nearly bald man squirms through the dock housecrawl space, stands up, and brushes off his shirt. He hasseveral cuts on his scalp and chin. Mateo emerges behindhim.

MATEOI can hardly recognize you.

DIEGOThat’s the idea. Where can I findAdmiral Costa?

(CONTINUED)

CONTINUED: 24.

MATEOHe’ll be supervising the ship.They’re still loading supplies.

Diego turns, rounds the corner of the dock house, and isgone. Then he’s back.

DIEGOI need your knife.

MATEONo.

Diego thinks for a moment.

DIEGOWell...surely a man such asyourself has more than one?

MATEOI...I...

DIEGOYou only have one knife? And callyourself a pirate?

MATEO(defensively)

Of course I have more...they’reinside.

DIEGOThen let me take one.

He heads for the crawl space. Mateo quickly blocks his way.

MATEOJust take this one.

Mateo holds it out. Diego snatches it and tucks it in hiswaistband. Now he’s gone.

MATEO(grumbling)

You’re welcome.

He disappears inside.

25.

EXT. MALAGA SQUARE - EVENING

Malaga’s central square bustles with activity, like a landversion of La Hispaniola’s deck. Tons of small, crowdedstreets filter outwards from the square, like arteriesfiltering away from the heart. The square makes up thecentral market. Tents, vendors, and small stands sell everymerchandise imaginable. Meat, vegetables, livestock, spices,silk, wood, trinkets, etc. Vendors SHOUT out prices,competing with their neighbors. Old ladies lie about thequality and origins of their fabrics. Animals BRAY andSQUAWK. The atery-streets are lined with shops, pubs, inns,and other businesses. From overhead, we see Diego movingfrom through alleys from harbor to the nearest side street.He reaches the first entrance, puts his head down, and ducksinto the traffic.

He spots a busy stand and heads for it. We’re not sure whathe has his eye on. He walks past the stand once, moves downthe street, makes and about-face, and heads back towards thestand. The merchant is busy with a horde of customers. Diegoducks in, snatches a deep blue shirt, and disappears intothe crowd.

In a back alley, Diego throws away his raggedy white shirtand puts on the blue one. He begins to admire himself, thenremembers his practically shining bald head. He heads backtowards the crowded street and ducks into the crowd.

Beat.

Suddenly he dives back around the corner and puts his headdown. Five guards march by carrying several thick boards ofwood. They take no notice of Diego. He wipes his brow andtries again. We follow close behind Diego as he weavesthrough the hordes of citizens. Now and then we catchinquisitive glances at Diego. Here and there, a WHISPER.HUSHED CONVERSATION.

Diego enters Malaga Square and freezes. In the center of thesquare, the five guards carrying wood drop their load at thefoot of a large scaffold. On the scaffold, severalcarpenters have nearly completed a tall gibbet. One of themclambers up a ladder and ties a noose around the extendedplank. He turns quickly to leave when:

VOICECalling all astronomers foremployment on Admiral Costa’sHispaniola! Think you know thestars? Show us, and begin thejourney of a lifetime! We pay!

(CONTINUED)

CONTINUED: 26.

Diego scans for the source of the noise. There! A small manstands on a box with a wooden cone to his lips. He repeatshis message.

BOX MANCalling all astronomers!

Diego pushes through the crowd and approaches the box man,keeping his eyes low.

DIEGOI’m an astronomer.

BOX MAN(pointing)

Follow that street until you thetavern El Perdido. It says it’sclosed, but the ship’s navigator istaking meetings inside.

Diego follows box man’s finger. He turns onto the designatedstreet and starts down it. The crowd thins out considerablyas he moves away from the sqaure. Most of the shops on thisstreet are closed, making the lighting quite dim. Hecontinues down the street until he sees a sign: "ElPerdido." At this point, the street is deserted. Diegoenters.

INT. EL PERDIDO - NIGHT

The tavern is dark except for a candle flickering behind acurtain to a back room.

DIEGOHello?

MAN’S VOICE (O.S.)Back here!

Diego crosses the tavern floor, past tables, stools, and thebar, and pushes the curtain aside. He freezes. The room isdark except for the candle, but we can still make out thelook of recognition and - terror? - that crosses Diego’sface. He knows this man.

Wilder’s hulking shape sits at the only table, tall mug inhand. His burn scars and eyepatch are emphasized by theflickering candle. He smiles warmly.

WILDERHave a seat.

Diego pulls the curtain back and turns to leave.

(CONTINUED)

CONTINUED: 27.

DIEGOYou know what? I actually don’tthink this is the right job for me,I-

WILDERWait, wait, don’t go! You’re theonly person to come in here so far.Apparently astronomers are few andfar between, and we really needone.

Wilder takes a big drink from his mug.

DIEGOI’m feeling ill, I’d really liketo-

WILDER(noticeably more stern now)

Sit down. Please.

Diego cringes, then turns back towards Wilder. He sits downacross from him. He keeps his eyes down nervously.

WILDERYou familiar with Admiral MyroCosta or that big man-of-war outthere, La Hispaniola?

DIEGO(talking to the floor)

I don’t know much about ships...orastronomy.

WILDERYou’re a strange one aren’t you?Well then what do you know? Youwalked in here for a job as astar-watcher, you must knowsomethin’.

DIEGOLike I said, I just wanted adrink...

WILDERYou didn’t say that.

We can practically feel Diego go cold.

(CONTINUED)

CONTINUED: 28.

WILDER(irritation rising)

Look buddy, I’ve had a real toughday and I’ve been drinkin’ sincenoon. Unless you start makin’ somesense, I’m gonna start thinkin’ youcame in here to make trouble.

Wilder starts to stand up.

DIEGOWait! Wait.

He rolls up his pant leg and pulls out his emerald journal.

DIEGOI know a little.

He slides the journal to Wilder. Wilder eyes Diego, thenopens the journal. He scans the pages, obviously confused.

WILDERIs this supposed to mean somethin’to me?

DIEGOIt’s lunar patterns...it’s starpositions and directions,it’s...it’s what’s up there.

He points to the sky.

Several moments go by. A drop of cold sweat trickles downthe back of Diego’s neck. Then Wilder’s face breaks into asmile and he slams Diego’s journal on the table.

WILDERWonderful! ’S good enough for me,I’m sure it’ll be good enough forAdmiral Costa. Welcome aboard.Let’s shake on it.

Wilder stands up, now fully in the candle light. Diegodoesn’t move. Wilder’s smile fades.

WILDERCome on now, don’t get all strangeon me again.

Diego slowly rises off of his seat. He moves forward, nowfully in the candle light as well. He grasps Wilder’s handin his and shakes. Wilder’s hand stops. He moves in closer.

(CONTINUED)

CONTINUED: 29.

WILDERSay, don’t I know you fromsomewhere?

DIEGO(avoiding eye contact)

I don’t think so.

WILDERLook at me.

Diego slowly raises his head. His gaze meets with Wilder’sone good eye...for just long enough. We see the same look ofrecognition cross Wilder’s face as we saw on Diego’s.There’s no question about the next look on his face - it’srage.

Diego tries to pull away, but Wilder’s hand crunches down onhis, hard. Diego winces in pain. With his other hand, Wildergrabs the journal and flips to the back cover. In gold printacross the bottom of the emerald skin reads: "PROPERTY OFDIEGO NAVARRA."

WILDER(growling)

Navarra.

Wilder flips the heavy wooden table like a feather, pinningDiego to the ground helplessly. The giant man unsheathes aferocious serrated knife and steps forward. Diego struggles- is he trying to lift the table from his chest?

WILDER(pointing to his eyepatch)

I understand the Bible in a veryliteral way, Navarra, and it saysan eye for an eye. I’ve beenwaiting a long time for this.

He expertly flips the knife into stabbing position andlunges forwar-- SLICE -- Wilder’s eyes bulge. Diego’s arm isup and outstretched over the table. Mateo’s knife is deepinside Wilder’s sternum. Wilder’s eyes flutter and close.All of the giant’s weight is on the knife, and Diego’s armtrembles from the strain. Wilder GROANS. Suddenly, he letsout a ROAR of fury. In one movement, Diego removes the knifefrom the man’s chest and drags it across his throat. TheROAR is silenced. The blood is atrocious. Wilder crashesdown on Diego and the table.

30.

EXT. EL PERDIDO - NIGHT

Diego’s head slowly emerges from El Perdido. He looks downboth directions of the street. All is quiet. He dashesacross the street and digs a small hole in the ground withhis hands. He takes out the bloody knife, drops it in thehole, and covers it up. In a flash, he slips into theshadows down the street. We PAN upwards and see where he’sheaded - the bright lights of La Hispaniola glimmer ahead.

INT. HISPANIOLA KITCHEN - NIGHT

We’re in the large kitchen of La Hispaniola. It’s huge andsurprisingly clean for a ship. Jeru Jr. enters from a backdoor lugging a mob and a pail of water. Before the doorcloses, we see a huge mess hall full of what looks like theentire crew. We hear ROARING LAUGHTER and DRUNKEN DISORDER.Dinner is over, but the festivities have just begun.

He winces with every step he takes, clearly in pain fromsomething. He moves to the corner of the room and beginsmopping. On his very first stroke, the mop handle knocksinto a glass pitcher on the counter behind him. It falls tothe floor, sending glass everywhere with a huge CRASH. Theboy freezes. He knows what’s coming. The back door fliesopen and the cook bursts in.

COOKWhat the hell did you-

He sees the broken glass. Jeru Jr. is already on his kneesscooping it towards him frantically. Without missing a beat,the cook strides over and delivers a ferocious kick to theboy’s side. He CRIES out in pain and collapses.

COOKSee what you get when you actstupid?

The boy does not understand. He lies on the ground in thefetal position, whimpering.

COOK(pointing to the front door)

Out! Get lost!

This, Jeru Jr. understands. He half-walks half-crawls to thedoor and limps outside.

31.

EXT. HISPANIOLA MAIN DECK - NIGHT

The boy steps into the fresh, sea air. His eyes fall on theiron grate far down the ship. He doesn’t move, but examineshis surroundings. There is no one on deck at this hour,everyone’s in the mess hall. To the boy’s left is astaircase descending to the lower decks. He dashes towardsit.

INT. HISPANIOLA MAIN CARGO HOLD - NIGHT

Like everything else on this ship, the main cargo hold isgargantuan. A huge wooden room illuminated by gas lamps, itstretches to nearly half the length of a football field.Some sections seem organized - a stack of ammunition boxesover here, livestock feed over there - while some of itappears to have been tossed in piles without a secondthought. Like a community dump, there are huge piles ofgoods, trinkets, and clothing nearly ten feet tall.

A staircase leads from the corner up to a door at the top ofthe room. It creaks open, flooding the cargo hold with morelight. Jeru Jr. peers in, taken aback by the volume ofobjects. He descends the staircase and weaves through thehapes of objects, looking for something. An ECHO - what wasthat? Just laughter from the mess hall? The boy standsfrozen for several moments, then continues. Somethingcatches his eye.

He dashes to a nearby heap and starts climbing. A long polewith something shiny on the end sticks out of the top of oneof pile. He gets to the top and grabs it - but it’s just aharpoon. Frustrated, he heaves it into a back corner. CLUNK.

VOICEOw!

Jeru Jr. jumps in fright and dives into the nearest pile,covering himself with an old shirt. Footsteps approach. Theboy trembles. He shields his face as the shirt is ripped offof him, but no one hits him. He opens his eyes. A young girllooks down at him.

MONICAHi, I’m Monica!

Jeru Jr. stares, bewildered. What is this little girl doinghere?

MONICAWhat’s your name?

The boy doesn’t understand.

(CONTINUED)

CONTINUED: 32.

MONICADo you speak Spanish?

Nothing.

MONICAOk, well how about I show you thiscool thing I found over here? Comeon!

She skitters away out of sight.

MONICA (O.S.)Over here!

Jeru Jr. takes his chance. He bolts for the stairs and isout the door, slamming it behind him.

Monica returns.

MONICALook, it’s some kind of tree orsomethi-...hello?

The boy is nowhere in sight. Monica shrugs. She’s moreinterested in the staff she found. She waves it around for amoment, fending off invisible assailants, then dashes up thestairs and out of sight.

INT. HISPANIOLA KITCHEN - NIGHT

Jeru Jr. closes the kitchen door behind him. The brokenglass is still spread about the floor. He goes to the broomcloset, but it’s empty. He crosses to the back and opens thedoor to the mess hall.

INT. HISPANIOLA MESS HALL - NIGHT

The CROWD is almost deafening. Rows of dining tables havebeen shoved aside to open up space in the center of the messhall. A circle of what must be every crew member surroundssomething. They CLAP, CHEER, and WHISTLE. Someone is playingan ACCORDION. Jeru Jr. can’t see anything except the back ofpeople’s legs, so he nudges forward. He’s jostled around andfinally pops into the front row of the crowd.

The small girl from the cargo hold and an equally small boyare performing tricks in the middle of the circle. The boyhas paint on his face. They dance and tumble and twistabout, capitalizing on the drunken spirit of their audience.The girl quickly reaches under a table and grabs something -

(CONTINUED)

CONTINUED: 33.

a stick. Jeru Jr.’s eyes widen with recognition. It’s notjust a stick, it’s a beautiful staff. It’s thick, heftypiece of mahogany brown wood. It’s well-polished, glimmeringin the light, and rounded at one end. Intricate designs curlup to it’s tip, where a huge, purple stone is lodged in anest of thick branches. The girl holds it out to the side atabout waist-level, like a Limbo bar, and the boy springs afrontflip over it. The crowd ERUPTS.

INT. HISPANIOLA CARGO CELL - NIGHT

JERU JR. (O.S.)My King! I saw your staff!

Jeru and the rest of the slaves look up at the grate.Without daylight, we can only see the boy’s shadow.

JERU JR.I must release you! I will throwthe bolt ope-

JERUNo! The time is not right. Listento me, Jeru, this is what you mustdo.

INT. HISPANIOLA NAVIGATION ROOM - NIGHT

COSTA(incredulous)

What do you mean he’s dead?!

SAILORIt’s true, Admiral. His body iswaiting on the docks.

COSTAHow?

SAILORTwo knife wounds. Chest and throat.

The admiral’s shoulders sag. He is silent for a few moments.The sailor shifts uncomfortably.

COSTABring his body aboard. We will buryhim at sea. He would want that.

(CONTINUED)

CONTINUED: 34.

SAILORYes, sir.

He exits.

COSTAWilder...my dear Wilder.

The admiral rests his head against the larger-than-life map.A KNOCK at the door.

COSTAYes.

A new sailor enters.

SAILOR 2Admiral, there’s a man named AlvaroBajo at the docks says wants to seeyou about work. Says he’s anastronomer.

Costa slowly lifts his head.

COSTABring him to me.

END ACT TWO

ACT THREE

EXT. HISPANIOLA MAIN DECK - SUNRISE

Morning activity on La Hispaniola has just begun, butbeyond, the city of Malaga still sleeps. Hungover crewmembers wheel crates and boxes up the huge ramp to theship’s stern. Wakeup bells ring throughout the ship.

Jeru Jr. stands at the back of the ship. He watches as themen pushing boxes wheel them past him. He eyes one box inparticular. Across the side in huge letters reads "FLINTLOCK- 50." When the crate reaches the top of the ramp, Jeru Jr.tugs on the wheelman’s pant leg.

WHEELMANWhat do you want?

Jeru Jr. points to the writing inquisitively - what is it?

WHEELMANFlintlock? Guns, boy. Boom boom.You know?

(CONTINUED)

CONTINUED: 35.

He makes cradles an invisible rifle in his arms and firesimaginary bullets. Jeru stays expressionless.

WHEELMANForget it, dumb negro.

He moves on with the box. Jeru Jr. glances at the grate inthe floor.

COOK (O.S.)(roaring)

Where the hell is that damn negro?Boy!

Jeru Jr. jumps and dashes to the kitchen.

INT. HISPANIOLA NAVIGATION ROOM - SUNRISE

Admiral Costa stands at the glass wall of the navigationroom scanning the sea, hands folded behind his back. Thesunrise is spectacular. A KNOCK at the door. Costa does notbudge.

COSTAEnter.

Diego swings the door open and steps inside. He is calm andcollected.

DIEGOAdmiral Costa, my name is -

COSTAAlvaro Bajo.

DIEGOYes...I’m told you’re in need of anastronomer.

COSTAYou were told right.

Costa finally faces Diego. He is not happy.

COSTAWere you also told that my chiefnavigator was murdered last night?

DIEGOYes, I was. I’m very sorry, sir.

(CONTINUED)

CONTINUED: 36.

COSTAAt least you show repentance.

DIEGOI beg your pardon, si-

Costa lunges with the speed of a tiger at Diego and slamshim against the huge map in the center of the room.

COSTADon’t play dumb with me! My sailorin the square said only one manapproached him for the job. He onlysent ONE man to El Perdido, ONE! Doyou mean to tell me someone justwaltzed into that tavern and killedWilder seconds after you left?

DIEGOI never went to the tavern,Admiral!

COSTALiar!

DIEGOIt’s true! I did talk to your manin the square, but I wanted to talkto you personally. I came straightto the ship, but there was no oneto let me on board! I went to thetavern afterwards in hopes ofcatching this Wilder-

COSTADon’t say his name!

DIEGO-in hopes of catching your manbefore he left, but when I gotthere a crowd had gathered outside.They told me he had been killed, soI went home, and now, here I am.

It’s not working. Costa pants with rage. He shoves Diegotowards the door and unholsters his pistol, training it onDiego’s head.

COSTAGet outside. I mean to make anexample of you.

37.

EXT. HISPANIOLA MAIN DECK - MORNING

Diego tumbles to the deck just outside of the navigationroom. He starts to stand up, but Admiral Costa steps out ofthe door behind him and kicks him forward. He drags Diego tothe center of the deck and yanks him to his feet.

A few crew members have noticed, but the deck is stillbustling with last minute preparations.

BANG. Costa fires a shot into the air. Now everyone notices.Mateo and Monica appear on the balcony above the navigationroom, scanning the scene. The flow of boxes being lugged upthe back ramp comes to a halt. A crate marked "FLINTLOCK -50" stops just next to the metal grate. All movement stops.Nearly 80 people look on.

COSTA(addressing the crowd,seething)

This is going to be a long voyage,people. This is not, however, goingto be an ordinary voyage. On long,ordinary voyages, people tend toget sick of their captains. Theycomplain. They wine. Sometimes theyeven rebel. I would like to takethis moment to show you the fate ofthose who show even the slightestinkling of disagreement with how Irun my ship.

He kicks Diego to his knees and trains the gun on the backof Diego’s head.

COSTALet this be a lesson to you all.

He cocks back the hamm--CLANG, CLANG, DING, CLANG, CLANG --

INT. HISPANIOLA CARGO CELL - MORNING

Jeru looks at each of the 29 slaves around him.

JERUDo you hear that? It is time, mybrothers.

38.

EXT. HISPANIOLA MAIN DECK - MORNING

Admiral Costa whirls towards the source of the sound. Diegoturns his head to do the same. The crew of La Hispaniolalook around confusedly.

Jeru Jr. bursts out of the kitchen door onto the main deck,two large tin pots in hand. He bangs them together savagely- CLANG CLANG CLANG CLANG - over and ove again, terror inhis eyes. Stil banging, he sprints past Costa

COSTAWhat the hell-

and straight for the slave cell. He kicks the bolt with allhis might, throwing it open. Thirty slaves rise from belowdeck like lightning and descend upon the box, "FLINTLOCK -50" just inches away. They open it in a flash and startfiring.

JERUTime your fire as planned! 15 fire,15 reload, 15 fire, 15 reload!

Chaos. Crew members scatter in all directions. Those withweapons at hand return fire. One, two, three, four crewmembers down. One slave down. Five crew members down. Twoslaves down. Smoke puffs with every shot, clouding the air.

Diego rolls away from the battle frantically and startsrunning. He stumbles over something - a sailor’s body, gunacross his chest. Diego picks up the pistol and loads it,ducking as bullets WHIZ by.

Costa is on the balcony above the navigation room with arifle. He shoves Mateo and Monica aside and loads his gun.He fires - headshot. He reloads, aims, then fires again -headshot. His mark is deadly. He reloads, fires - CRRITCH -the gun makes an awful sound. Jammed. He throws down therifle and tries to see through the smoke. One, two...that’sit, two slaves left. They are completely outnumbered. Aftera few pistol CRACKS from sailors behind crates, they fall.

Costa descends into the navigation room. He crosses to theglass wall - WHAM - Jeru hammers his head with the butt of arifle. Costa falls hard, cradling his head. Jeru towers overhim and aims his rifle at the admiral’s face.

JERU(Senegalese)

Now it’s time for you to go home,too.

(CONTINUED)

CONTINUED: 39.

Costa closes his eyes. CRACK. The gunshot rocks thenavigation room.

Jeru falls to his knees, then on his side. He rolls over,looking up to see -- Diego looking down at him, gun barrelstill smoking.

DIEGOAdmiral, are you alright?

COSTAYes.

He gets to his feet slowly, steadying himself on the glass.Jeru grabs Diego’s ankle and motions for him to come close.Hesitant at first, Diego kneels down next to the dying king,looking into his face. Jeru looks back into Diego’s eyes.

JERU(Senegalese, a whisper)

Thank you.

His grip loosens and his eyes close.

EXT. HISPANIOLA MAIN DECK - DAY

Diego emerges from below deck with his emerald journal. Hespots Monica across the deck on her knees and approachesher. She is kneeling over the dead body of Jeru Jr. Diegoputs his hand on her shoulder.

DIEGODid you know him?

MONICANo, I just met him in the playroom.

DIEGOAre you ok?

Monica looks up at him, tears in her eyes.

MONICAWhy did he do what he did?

Diego sits down next to her and cradles her head.

40.

INT. HISPANIOLA NAVIGATION ROOM - DAY

Admiral Costa flips through Diego’s emeraled journal.

DIEGOI told you, I’m just an astronomerand a navigator. I didn’t kill yourman.

Costa tosses the journal to Diego.

COSTAYou are here on orders from KingPhillip II of Spain. That is theonly reason you’re alive. As far asI’m concerned, you have no place onthis ship. One slip, Alvaro - onemistake - and it will be the end ofyou. There’s no law where we’regoing.

DIEGOYes, sir.

COSTAI must go mourn the death of mynavigator. Get to work.

Costa exits. Diego approaches the life-size map. He looks itover and spins it. He takes several maps off of the shelfand sits down at the navigator’s desk. He takes a compassfrom the desk drawer and begins plotting on the map. After amoment, he gazes through the glass out to sea. He gets upand exits the navigation room.

EXT. HISPANIOLA MAIN DECK - DAY

A bird’s eye view of the deck of La Hispaniola shows crewmembers mopping up blood stains. A casket - most likelyWilder’s - rests in the middle of the deck. We see Diegoleave the navigation room and weave through the mess towardsthe ship’s stern. The ramps are pulled from the ship down tothe docks. The anchor rises from the water up the ship’shull. Two huge masts unfold - WHOOSH. With a loud rush ofwater, La Hispaniola sets sail.

We are with Diego on the ship’s back railing now. He gazesat the city of Malaga as it moves away. From our vantagepoint, we can see the city - and can just barely make out ahuge crowd rioting around an empty gibbet. The Magistrate,surrounded by a group of guards, stands on the scaffoldtrying to calm the crowd. The empty noose sways in the wind.

(CONTINUED)

CONTINUED: 41.

END PILOT