The castaways find two crates of silent film equipment in a sunken boat in the lagoon. The Professor suggests making a film telling their story, sending it out on a raft, and hoping for rescue.
“Castaways Pictures Presents”
By
Herbert Finn
and
Alan Dinehart
November 4, 1965
FADE IN:
EXT. LAGOON BEACH - DAY
Gilligan paddles a raft from the middle of the lagoon to shore. He steps off the raft and uses a rope to pull the raft further up on shore. Gilligan yells for the Skipper and Professor.
GILLIGAN
Skipper! Professor, I saw a ship! Where is everybody?
SKIPPER AND PROFESSOR
walk through the jungle. Skipper carries a milkmaid's yoke with a pail attached to either end. Professor carries a similar milkmaid's yoke.
GILLIGAN (O.S.)
Skipper, Professor, I saw a ship!
PROFESSOR
Who's that, Gilligan? What's he yelling about now?
They stop.
SKIPPER
I don't know, Professor. Something about he saw a ship or--Saw a ship? Gilligan saw a ship, Professor! Gilligan saw a ship!
Professor removes his milkmaid's yoke and places it carefully on the ground. Skipper runs between two trees, which break off the ends of the milkmaid's yoke. Skipper removes the yoke, which knocks his cap off his head.
FADE OUT
END OF TEASER
ACT ONE
FADE IN:
EXT. LAGOON BEACH - DAY
Professor and Skipper run out from the jungle and onto the lagoon beach.
GILLIGAN (O.S.)
Come on, come on, come on!
PAN ON
Professor as he runs to Gilligan. Skipper catches up. The three men look out into the lagoon.
GILLIGAN
Come over here. Look!
PROFESSOR, SKIPPER, GILLIGAN
stand on the beach and look for the ship.
SKIPPER
Where is it, Gilligan, where?
GILLIGAN
It's right out there. I saw it, plain as day.
PROFESSOR
Out where, Gilligan? I don't see anything.
LAGOON
GILLIGAN (O.S.)
You're not looking in the right place. Look a little bit more over there, see?
PROFESSOR, SKIPPER, GILLIGAN
scan the lagoon for any sign of a ship.
SKIPPER
Yeah, how big was it? How many people were on it?
GILLIGAN
There was nobody on it. It's an abandoned ship.
PROFESSOR
Abandoned? Gilligan, where exactly did you see this ship?
GILLIGAN
Well, you see, it's right out there.
(points)
You look over to the left, and now straight down.
PROFESSOR
Straight down?
SKIPPER
Gilligan, you mean you saw a sunken ship? Oh, Gilligan.
PROFESSOR
Well, now, listen, Gilligan, how far down was she? I mean, how many feet?
GILLIGAN
Oh, Professor, in Navy circles, we don't say "feet," we say "fathoms."
PROFESSOR
All right, how many fathoms?
GILLIGAN
I don't know, about fifteen feet.
PROFESSOR
Well, Skipper, she's not too badly damaged. We might be able to raise her.
SKIPPER AND GILLIGAN
SKIPPER
Sure, and sail her back to the mainland.
GILLIGAN
It ought to be real easy. She only has a hole in her the size of a ten-pound rutabaga.
SKIPPER
A ten-pound what?
GILLIGAN
It's kind of like a turnip, Skipper. You slice it up and put onions and butter and put it in frying pan.
SKIPPER
Oh, never mind.
GILLIGAN
My Aunt Martha can make a rutabaga. Slice it up and--
SKIPPER
Gilligan, we're not here to hear about a recipe. For goodness sakes, we've got to check out this hull.
PROFESSOR
PROFESSOR
Yes, Gilligan, your discovery of this submerged vessel may well be instrumental in securing for us deliverance from our enforced isolation.
PROFESSOR, SKIPPER, AND GILLIGAN
GILLIGAN
Yeah, not only that--
(to Skipper)
What did he say?
Skipper and Gilligan look at Professor. Professor looks at the lagoon.
DISSOLVE TO:
EXT. LAGOON - DAY
Gilligan and Professor sit on the raft.
PROFESSOR
Good thing the water's so clear. It makes the job of salvaging that much easier.
GILLIGAN
He's coming up.
Skipper, wearing goggles, emerges from the lagoon depths. Skipper raises the goggles to his forehead.
PROFESSOR
Yeah. Well, Skipper, what do you think?
SKIPPER
holds on to the side of the raft.
SKIPPER
Gilligan's right, Professor. There's a big hole in the port side. But the starboard side is ...
GILLIGAN AND PROFESSOR
SKIPPER (cont'd)
... the bigger problem.
GILLIGAN
What's that?
SKIPPER
SKIPPER
Well, there isn't any starboard side.
GILLIGAN AND PROFESSOR
PROFESSOR
Dear, that makes salvaging out of the question.
SKIPPER
SKIPPER
I'm afraid so. But while I was down there, I looked into the hold. There's a couple of big boxes that maybe we can salvage.
GILLIGAN AND PROFESSOR
GILLIGAN
Oh, let's get them up, Skipper. There might be something good in there, like, you know, T.V., radio, comic books.
SKIPPER
SKIPPER
Professor, isn't there something you can do with this guy?
GILLIGAN AND PROFESSOR
PROFESSOR
Oh, please, fellas. You know, there just may be something in those boxes we can use to help get ourselves off this island. We'll start salvaging operations in the morning. You've done a wonderful job, Skipper. Come on.
SKIPPER
PROFESSOR (O.S.)
Up in the raft.
SKIPPER
Thanks, Professor.
BACK TO SCENE
SKIPPER (cont'd)
Well, Gilligan, give me a hand.
Gilligan claps.
DISSOLVE TO:
EXT. CAMP - DAY
Skipper stands in boxers and T-shirt. Skipper tugs at the dry suit, trying to get it on. Professor and Gilligan watch Skipper struggle.
SKIPPER
I think I'm going to need a little help, Professor.
PROFESSOR
All right, I'll take the back. Gilligan, you take the front.
GILLIGAN
Right.
Professor tugs at the back of the dry suit. Gilligan tugs at the front. Skipper tugs on the sides. All three pull without success.
GILLIGAN (cont'd)
Skipper, could you kind of push your chest back into position?
SKIPPER
My chest?
Gilligan points to Skipper's belly.
GILLIGAN
This part of it.
SKIPPER
Very funny.
PROFESSOR
Well, you are a little overweight, Skipper.
SKIPPER
I'm not overweight. I just have big bones.
GILLIGAN
And they're covered with big meat.
SKIPPER
Gilligan.
PROFESSOR
Oh, it's no use. I couldn't get into this suit either.
GILLIGAN
I can.
SKIPPER
I don't think we have any choice.
PROFESSOR
I think you're right, Skipper. Take it off. We'll put it on to Gilligan.
The three struggle to remove the dry suit from Skipper.
GILLIGAN
Oh, it's just as fat going down as it was coming up.
They finally succeed in removing the dry suit to Skipper's ankles.
DISSOLVE TO:
EXT. LAGOON BEACH - DAY
Gilligan, wearing the dry suit, walks by Ginger, Mary Ann, and Mrs. Howell. Professor follows him, but stops at the girls. Mary Ann sits on a stationary bicycle that powers a makeshift air pump.
PROFESSOR
Now, remember, ladies, each of you has a job to do.
GINGER, MARY ANN, MRS. HOWELL, PROFESSOR
faces the girls.
PROFESSOR (cont'd)
Mary Ann, you'll do the pumping that generates the air.
MARY ANN
Right.
PROFESSOR
Ginger, keep your eye on the airlines. Make sure they don't get tangled.
GINGER
Right.
PROFESSOR
And Missus Howell.
MRS HOWELL
Right.
PROFESSOR
PROFESSOR
I didn't say anything yet.
GINGER, MARY ANN, MRS. HOWELL
look at Professor.
SKIPPER AND GILLIGAN
Skipper hides behind greenery. Gilligan tries to coax him out of hiding.
GILLIGAN
Come on, Skipper.
SKIPPER
No, Gilligan.
GILLIGAN
Oh, come on.
SKIPPER
Gilligan, I've changed my mind.
GILLIGAN
Oh, you're being silly.
SKIPPER
Gilligan, no. And that's final.
GILLIGAN
Hey, Professor, see what you can do, huh?
Professor enters.
PROFESSOR
Skipper, we've got to do this in the warmest part of the day, and that's right now. Come on.
NEW ANGLE
SKIPPER
Oh, all right.
Skipper emerges. He's wearing long john underwear and his cap.
SKIPPER (cont'd)
If anybody laughs, I'm going to quit.
PROFESSOR
Now, now, Skipper, this is a very important task we're undertaking, and you're going to need those longies for warmth.
GILLIGAN
Don't forget, it's cold down there, and keep your flap closed.
SKIPPER
You keep your flap closed, Gilligan, or I'll close it for you.
MARY ANN, MRS. HOWELL, AND GINGER
Mary Ann hides her eyes. Professor escorts Skipper and Gilligan to the raft.
MRS HOWELL
Don't look, Mary Ann.
Mary Ann peeks and giggles.
SKIPPER
Hello, ladies.
Skipper turns so his backside is away from the girls.
PROFESSOR
Mister Howell.
MR HOWELL (O.S.)
Yes.
PROFESSOR
You take one air line, and I'll take the other.
Mr. Howell stands on the raft. He wears a white captain's cap and a uniform coat.
MR HOWELL
Roger.
SKIPPER
Mister Howell, that's Air Force talk, not Navy.
MR. HOWELL
MR HOWELL
Talk to me about Navy. I'm more at home on a boat than anyone else. Well, I think I'll go aft.
BACK TO SCENE
Mr. Howell steps off the raft into the lagoon. He loses his white cap. He pops up out of the water.
MR HOWELL (cont'd)
Oh! I've been scuttled.
FLIP TO:
EXT. LAGOON - DAY
Wet Mr. Howell sits on a box on the raft. Professor kneels on the raft. Skipper and Gilligan float in the water next to the raft.
PROFESSOR
If you're not getting a steady flow of air. I want you to surface.
GILLIGAN AND SKIPPER
float in the water.
SKIPPER
You can count on that, Professor.
MR. HOWELL AND PROFESSOR
MR HOWELL
The girls are willing and ready to go, Professor.
PROFESSOR
(yells)
All right, Mary Ann!
MARY ANN, MRS. HOWELL, AND GINGER
PROFESSOR (cont'd)
(yells)
Start pumping!
GINGER
Start pumping, Mary Ann.
MR HOWELL AND PROFESSOR
PROFESSOR
Now, I want you to test your air line, Gilligan.
Professor hands an air line to Skipper.
PROFESSOR (cont'd)
Test yours, Skipper. It comes in the back of your suit and goes to your mouthpiece.
GILLIGAN AND SKIPPER
test their air lines.
PROFESSOR (O.S.)
See if you're getting air.
Gilligan and Skipper nod.
PROFESSOR (O.S.) (cont'd)
Good.
MR. HOWELL AND PROFESSOR
PROFESSOR
All right, submerge.
GILLIGAN AND SKIPPER
sink into the lagoon. Air bubbles stream up to the surface.
MR. HOWELL AND PROFESSOR
both feed air lines carefully so they don't get tangled or caught.
MR HOWELL
Marvelous.
SURFACE OF THE LAGOON
Bubbles stream up to the surface.
MARY ANN, MRS. HOWELL AND GINGER
Mary Ann pedals to pump air. Ginger holds the air line.
ZOOM TO AIR PUMP
working.
MR. HOWELL AND PROFESSOR
PROFESSOR
Now, Mister Howell, you keep your eye on Gilligan's airline.
MR HOWELL
I'll give it my undivided attention. I just hope we finish before cocktail time.
PROFESSOR
Just make sure that line doesn't get tangled.
SURFACE OF THE LAGOON
Bubbles stream up to the surface.
MR HOWELL (O.S.)
Well, I've had a lot of experience in scuba ...
MR. HOWELL AND PROFESSOR
MR HOWELL
... diving in my pool.
PROFESSOR
Must be a very large pool.
MR HOWELL
Large? Last year we had a hurricane, Emma, of course. A couple of Japanese fishermen, and the salmon were at the diving board to spawn.
MR. HOWELL, PROFESSOR, AND GILLIGAN
Gilligan's dry suit has inflated so Gilligan floats on the surface of the water.
GILLIGAN
Help.
PROFESSOR
Gilligan, good heavens.
MR HOWELL
This is no time time for pranks!
GILLIGAN
floats on the lagoon surface in his dry suit.
GILLIGAN
Help! Help!
MR. HOWELL, PROFESSOR, AND GILLIGAN
PROFESSOR
There must be a leak with the air line.
MR HOWELL
Wait a minute, I know how to remedy this, Professor, hold on.
Mr. Howell takes a sharp object and pierces Gilligan's dry suit.
WIDER SHOT
Gilligan shoots away from the raft and travels to the other side of the lagoon.
DISSOLVE TO:
EXT. CAMP - DAY
Gilligan helps Professor tear off a protective wrap on a crate. Ginger, Mr. Howell, Mrs. Howell, and Mary Ann unwrap another crate. Skipper asks Gilligan to assist them.
SKIPPER
Never mind that, Gilligan. Go over and help the girls.
Gilligan moves to assist the other castaways.
MRS HOWELL
Yeah, okay, just a second.
Ginger works a crowbar to loosen the top of a crate.
MR HOWELL
Yes, yeah, let's go over here. Skipper, give the heave job. There we go.
FOLLOW GILLIGAN
as he crosses from one crate to the other. Skipper helps Professor open the first crate with claw hammers. They remove the top of the crate. Gilligan takes the crowbar from Ginger and works the crowbar on the second crate.
MARY ANN
You're getting it.
Gilligan drops the crowbar and opens the second crate. They look inside.
MARY ANN (cont'd)
Oh!
GILLIGAN
A crate full of crazy costumes.
GINGER
Look. Oh, imagine this!
Ginger removes a dress.
MARY ANN
Isn't this the end?
Mary Ann removes a feather boa. Gilligan removes a cane.
SKIPPER, MR. HOWELL, MRS. HOWELL, PROFESSOR
examine the crate's contents.
PROFESSOR
Look, a camera. It's a motion picture camera!
Professor sets down his pick ax and removes the camera from the crate. He looks through the viewfinder. Skipper puts his hammer down and then picks up a box of film.
SKIPPER
Oh, and here's some film to go with that camera, Professor. Oh, look, there's a name on the side. "South Sea Film Productions."
ZOOM TO MR. HOWELL AND MRS. HOWELL
MR HOWELL
South Sea Film Productions? Wasn't that the company formed by Fifi LaFrance, the famous movie vamp?
MRS HOWELL
Yes, with her husband, Ricardo, Laughingwell.
MR HOWELL
Oh, a handsome chap with a mustache. Ricardo, I mean, though Fifi had a bit of one herself.
MRS HOWELL
It all comes back to me now. Fifi and Ricardo were married and sailed away on their honeymoon to make a picture together. Oh, it was so romantic.
MR HOWELL
Not a bad tax dodge, either.
PROFESSOR AND SKIPPER
PROFESSOR
It must be their old abandoned yacht, and this is silent picture equipment.
MR. HOWELL AND MRS. HOWELL
MRS HOWELL
I just love those old silent pictures and those marvelous silent picture stars. Oh, look, darling, there's Thede Bara.
GINGER
dressed in a brunette wig, a white and black stole, a silver dress, and carries a cigarette holder.
PAN TO MARY ANN
Mary Ann wears a blonde wig with ringlet curls and blue ribbons. Her dress is a short white dress.
MRS HOWELL (O.S.)
And there's little Mary Pickford.
PAN TO GILLIGAN
dressed in a Arabian nights outfit.
MRS HOWELL (O.S.) (cont'd)
And Rudolph Valentino.
FOLLOW GILLIGAN TO PROFESSOR AND SKIPPER
as he moves past Mary Ann to Ginger. Ginger unfurls her white stole while Gilligan does a quick change into Charlie Chaplin's The Little Tramp. Gilligan emerges from behind Ginger in a bowler hat, a cane, white shirt, tuxedo coat with tails, a tiny mustache, and brown trousers. Gilligan spins the cane and taps Mr. Howell in the belly.
MR HOWELL
Oh!
MRS HOWELL
Oh!
GILLIGAN
Hey, Skipper, we can have some fun with these costumes.
SKIPPER
Certainly we can have fun, Gilligan, but we're not here for fun. We're here to get off the island. It's just too bad we couldn't have found something we could use.
PROFESSOR
Well, perhaps we have, Skipper.
SKIPPER
Huh?
PROFESSOR
Listen, I have an idea how we can use this equipment to get ourselves rescued.
SKIPPER
Rescued?
PROFESSOR
Yes, now listen, if you'll all gather around, let me try to explain this.
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN:
EXT. GILLIGAN'S ISLAND - ESTABLISHING SHOT - DAY
EXT. LAGOON - DAY
Skipper emerges from the lagoon carrying Gilligan. Both wear pancake makeup reminiscent of the silent film era.
PULL BACK TO REVEAL
Mr. Howell, the director, gives instructions through a megaphone. Professor operates the camera. Mrs. Howell lies on the beach. Mary Ann sits next to Mrs. Howell and waves. Ginger stands and waves.
MR HOWELL
Watch your makeup. Don't get it wet. Very important. The dry makeup is a good makeup. That's it. Splendid. Splendid job of acting, Skipper.
PROFESSOR
Keep your face more toward camera.
GILLIGAN AND SKIPPER
Skipper carries Gilligan.
MR HOWELL (O.S.)
That's right.
SKIPPER
I don't think this is gonna help us get rescued at all.
MR HOWELL (O.S.)
Leave the thinking to ...
MR. HOWELL AND PROFESSOR
MR HOWELL
... Cecil B. Howell, will you?
PROFESSOR
I told you, Skipper, this movie will show how we got shipwrecked on the island.
GILLIGAN AND SKIPPER
PROFESSOR (O.S.)
We'll put the film on a raft. When people find it, they'll see us ...
MR. HOWELL AND PROFESSOR
PROFESSOR
... stranded here on the island and they'll send help.
MR HOWELL
We'll release it as a feature. We'll all make millions.
BACK TO SCENE
Ginger and Mary Ann wave toward the camera.
PROFESSOR
It'll work, Skipper. Believe me, it will.
SKIPPER
Well, I hope so, because this acting business is really exhausting.
GILLIGAN
Well, if you're tired, why don't you put me down?
SKIPPER
Gilligan, I'll put you down.
FOLLOW SKIPPER
as he walks to the water and tosses Gilligan into the water.
MR HOWELL (O.S.)
That's not in the script!
FLIP TO:
EXT. CAMP - DAY
MR. HOWELL AND GILLIGAN
MR HOWELL
Now, remember, Gilligan, while the Professor's emoting on the silver screen, you are the cameraman.
GILLIGAN
Right. Anytime you're ready, C.B.
MR HOWELL
Eyes and ears of the world, you understand?
FOLLOW MR. HOWELL
to Ginger and Professor.
MR HOWELL (cont'd)
Now, in this scene, Ginger, the Professor has told you about his plan to make the movie so we can all be rescued from the island without any gratitude. You understand, girl?
GINGER
Yes, sir.
(to Gilligan)
Don't forget to photograph me from the left, Gilligan.
GILLIGAN
GILLIGAN
Right. I mean left. That's right. Left. Right?
MR HOWELL (O.S.)
And, Gilligan, will you stop the marching?
PROFESSOR, GINGER, AND MR. HOWELL
MR HOWELL
All right, will you please make your entrance from the hibiscus bush, and, uh, Professor, I mean, anytime you're ready, rock, baby.
Ginger exits to the hibiscus bush. Professor sits down at the dining table.
PROFESSOR
Rock, baby?
Professor stands.
MR HOWELL
Showbiz talk.
PROFESSOR
Oh.
MR HOWELL
Understand, pussycat?
Professor sits down at the dining table.
MR HOWELL (cont'd)
Ready up there!
FOLLOW
Mr. Howell returns to his Director chair.
MR HOWELL (cont'd)
Quiet! Quiet up there, you birds! Lights! Action! Camera! Action!
Ginger enters quickly.
GINGER
Oh, there you are, Professor.
Professor stands up, but knocks over his chair. Mr. Howell approaches Professor and Ginger.
MR HOWELL
Stop! Cut! Son, you look so stupid!
PROFESSOR, GINGER, MR. HOWELL
MR HOWELL (cont'd)
Can't you just stand up? You do it every day of your life.
PROFESSOR
But, Mister Howell, the chair--
MR HOWELL
You're not playing a scene with a chair. You're playing a scene with Ginger. Do you understand?
PROFESSOR
Yes, yes.
MR HOWELL
I know you do. All right. Back in the bushes, my dear, and, uh--
Ginger exits to her position at the hibiscus bush.
MR HOWELL (cont'd)
Remember the signal, okay? And, uh, action.
MR. HOWELL
returns to his chair.
MR HOWELL (cont'd)
From the top, as we say. All right. Camera.
BACK TO SCENE
MR HOWELL (cont'd)
Action!
Ginger runs to Professor.
GINGER
Oh, there you are, Professor.
He stands.
PROFESSOR
Ginger.
GINGER
Oh, Professor, you're a genius.
PROFESSOR AND GINGER
PROFESSOR
(stilted)
I do have a rather high I.Q.
GINGER
But this whole rescue plan was your idea.
PROFESSOR
(stilted)
Necessity is the mother of invention.
MR. HOWELL
watches their performance.
GINGER (O.S.)
Oh, there must be some way I can thank you.
GILLIGAN
cranks the camera and peers through the viewfinder.
PROFESSOR (O.S.)
(stilted)
No thanks are necessary.
Gilligan looks over the top of the camera.
GINGER
But there must be some way I can thank you.
PROFESSOR AND GINGER
PROFESSOR
(stilted)
Well, if you insist, the customary way will do.
Professor stiffly extends his hand for Ginger to shake.
MR HOWELL (O.S.)
Cut!
GILLIGAN AND MR. HOWELL
MR HOWELL
Cut!
BACK TO SCENE
Mr. Howell walks over to Professor and Ginger.
MR HOWELL (cont'd)
Son, you don't show gratitude on the ...
PROFESSOR, GINGER, AND MR. HOWELL
MR HOWELL (cont'd)
... silver screen by shaking hands. You give a kiss. Do you understand?
PROFESSOR
Oh.
MR HOWELL
A real, real kiss.
PROFESSOR
Oh.
MR HOWELL
All right, now, pick it up two lines before the gratitude stick.
GINGER
But there must be...
MR HOWELL
Hey! Wait till the director says "action."
GINGER
Yes, sir.
MR HOWELL
All right. Quiet up there, birds. All right.
GILLIGAN
operates the camera. Mr. Howell sits down in his Director's chair. Gilligan cranks the camera.
MR HOWELL (cont'd)
All right. Quiet up there. Action.
PROFESSOR AND GINGER
GINGER
But there must be some way I can thank you.
PROFESSOR
(stilted)
Well, if you insist, the customary way will do.
Ginger leans in for a kiss. Professor turns his cheek toward her.
BACK TO SCENE
MR HOWELL
Cut!
Gilligan stops cranking the camera.
PROFESSOR
What is the matter now?
MR HOWELL
You're turning your stupid head, don't you understand?
PROFESSOR, GINGER, AND MR. HOWELL
PROFESSOR
Well, kissing on the mouth is far from sanitary, and it can lead to all sorts of bacterial transfers.
GINGER
Certainly make a kiss sound romantic, like germ warfare.
MR HOWELL
Will you forget the science, Professor, and give her a real kiss? All right, now, pick it up once again from the gratitude shtick. Two lines before.
GINGER
But there must be some...
MR HOWELL
(yells)
Ginger!
(calmly)
You mustn't talk before I say "action."
GINGER
Sorry, sir.
MR HOWELL
I know. You're learning.
BACK TO SCENE
MR. HOWELL
Ready? Quiet up there, you birds. Ready?
Gilligan cranks the camera.
GILLIGAN AND MR. HOWELL
MR HOWELL
Action.
PROFESSOR AND GINGER
GINGER
But there must be some way I can thank you.
PROFESSOR
(stilted)
Well, if you insist.
Ginger leans in and kisses Professor. Professor wraps his arms around Ginger. She wraps her arms around him.
GILLIGAN AND MR. HOWELL
Gilligan cranks the camera and Mr. Howell watches the action.
PROFESSOR AND GINGER
Ginger continues kissing Professor and dips him over the dining table. They adjust their hands awkwardly.
GILLIGAN
stares, mesmerized. He stops cranking the camera to stare at them kissing.
MR. HOWELL
watches, intrigued by the depth and length of the kiss.
PROFESSOR AND GINGER
continue kissing. They rearrange their arms.
GILLIGAN AND MR. HOWELL
Gilligan steps in front of the camera to watch their kiss. Mr. Howell stands up.
PROFESSOR AND GINGER
continue to kiss. They adjust their arms.
GILLIGAN AND MR. HOWELL
GILLIGAN
Wow, that sure is some kiss.
MR HOWELL
It's a doozy, it's a--
(notices Gilligan is not operating the camera)
Gilligan, why aren't you working the camera?
Gilligan returns to operate the camera and cranks it. Mr. Howell sits down.
MR HOWELL (cont'd)
No germ could live through that kiss.
GILLIGAN
They're going to break the world kissing record.
MR HOWELL
World kissing record?
GILLIGAN
Yeah, held by Skinny Mulligan and Florence Oppenheimer. Six hours, twelve minutes, and thirteen seconds.
MR HOWELL
Well, how could anyone possibly kiss that long?
GILLIGAN
Oh, it's easy. They were chewing bubble gum and their braces locked.
FLIP TO:
EXT. CAMP - DAY
Mr. Howell discusses the scene with Mary Ann.
MR HOWELL
Now, in this scene, Mary Ann, I want to show the everyday dangers that we face here on the island. Are you ready?
MARY ANN
Oh, right, Mister Howell. I come down the path, the cannibal ties me to the stake, he scares me, and I plead for my life.
MR HOWELL
You're going to be marvelous. All right, back there.
Mr. Howell walks over to Gilligan dressed as a cannibal.
MR HOWELL (cont'd)
And it's a check over here. Are you ready, cannibal?
GILLIGAN
Boola boola boola!
PULL BACK TO SCENE
MR HOWELL
Boola boola boola? Method actors, I tell you never again.
Mr. Howell sits down in his director's chair.
MR HOWELL (cont'd)
All right, camera, lights, quiet up there, and let's have action. Action.
Mary Ann mimes gathering nuts from non-existent plants.
MARY ANN
Here I go gathering nuts in May, nuts in May.
GILLIGAN
Boo!
Mr. Howell taps the Professor to stop filming.
MR HOWELL
Cut! What is this "boo" shtick? You're a--you're a crazed savage.
MR. HOWELL, GILLIGAN, AND MARY ANN
MR HOWELL (cont'd)
You're terrifying, a real geschrei. Now, back to your respective--
They return to their positions.
BACK TO SCENE
MR HOWELL (cont'd)
That's it. Ready? Lights, camera, action.
Mary Ann mimes gathering nuts from non-existent plants.
MARY ANN
Here I go gathering nuts in May, nuts in May.
Gilligan appears on cue to scare Mary Ann.
GILLIGAN
Blah!
MARY ANN
Ah!
Mary Ann drops her basket. Pieces of fruit roll out of it.
GILLIGAN
Oh.
Gilligan bends over and kneels down to pick up the fruit.
MR HOWELL
Gilligan, my boy, ...
GILLIGAN
picks up fruit and puts it in the basket.
MR HOWELL (O.S.)
... forget the fruit.
GILLIGAN
But it's our dessert.
MR HOWELL (O.S.)
You scare, you scream, gesch--Aah!
MR. HOWELL AND PROFESSOR
Professor cranks the camera while Mr. Howell emotes.
GILLIGAN AND MARY ANN
GILLIGAN
Aaa.
MARY ANN
Oh, oh!
MR HOWELL (O.S.)
No, no, no, no, ...
MR. HOWELL AND PROFESSOR
MR HOWELL
... menace her, menace her, boy.
GILLIGAN AND MARY ANN
MARY ANN
Menace me, Gilligan.
Mary Ann elbows Gilligan.
MARY ANN (cont'd)
Oh, oh!
GILLIGAN
You're going to be burned at the stake, and smoke will get in your eyes and everything.
Gilligan turns to Mr. Howell and smiles. Mary Ann looks at Gilligan, puzzled.
MR. HOWELL AND PROFESSOR
Mr. Howell looks at Professor.
MR HOWELL
Stake her. What a frightening actor.
BACK TO SCENE
MR HOWELL (cont'd)
Now, don't stand there, tire her to the stake. That's it.
Mary Ann stands next to the stake. Gilligan wraps a rope around her hips and torso.
MARY ANN
Oh, kind sir, you have such a kind face. How can I talk you out of doing this horrible deed? Oh, do not harm me, cannibal.
GILLIGAN AND MARY ANN
Gilligan completes tying Mary Ann to the stake, but sways in dizziness.
MR. HOWELL AND PROFESSOR
MR HOWELL
Now, do your dance. The dance of death.
BACK TO SCENE
Gilligan performs the "dance of death."
GILLIGAN
Ah!
MR. HOWELL AND PROFESSOR
MR HOWELL
I'm going to kill him.
PROFESSOR
Just be grateful it's a silent picture.
GILLIGAN AND MARY ANN
Gilligan walks around Mary Ann, swinging his arms wildly until he's out of breath. Mary Ann taps him on the shoulder. He turns to Mary Ann, sees her, screams, and flees into the jungle.
GILLIGAN
Ah!
Mary Ann looks to Mr. Howell.
MR HOWELL (O.S.)
Cut!
FLIP TO:
EXT. CAMP - DAY
Skipper and Mr. Howell stand in front of a slate chalkboard on an easel. Skipper has white pancake makeup applied. On the chalkboard is an outline of the continental United States. To the lower left are four circles that represent Hawaii.
MR HOWELL
Now, I repeat, this is the most important scene in the picture. The picture means nothing unless the scene has great impact. It must have motivation. It must have precise timing. It must have dignity.
SKIPPER
Oh, never mind all that static, Mister Howell. All I want to do is show the approximate location of our island.
MR HOWELL
Actors, temperamental children. All right, get ready.
Gilligan enters and stands in front of the slate chalkboard.
SKIPPER
I've been ready for a half an hour.
MR HOWELL
(to Gilligan)
Just what do you think you're doing?
SKIPPER AND GILLIGAN
GILLIGAN
I'm just standing.
MR HOWELL (O.S.)
Well, will you stand someplace else? Get out.
Gilligan exits.
SKIPPER
You can't talk to my little buddy like that.
PROFESSOR AND MR. HOWELL
MR HOWELL
I'm the director. I'll talk to anyone that I please.
BACK TO SCENE
MR HOWELL (cont'd)
All right, be ready, cameraman, as we say. Camera, roll them, action.
Skipper points to Hawaii on the slate chalkboard.
SKIPPER
This is Hawaii.
MR HOWELL
Cut! Cut, cut, cut, cut. You've got to show emotion.
PROFESSOR AND MR. HOWELL
MR HOWELL (cont'd)
Joy of the impending voyage. You don't know we're going to have a terrible storm and a shipwreck. All right, now. Play it again. Camera, ...
SKIPPER
MR HOWELL (O.S.)
... lights, action.
Skipper points to Hawaii on the slate chalkboard.
SKIPPER
This is Hawaii. We started to drift southeast, and then the storm hit.
MR HOWELL (O.S.)
Wait a minute!
PROFESSOR AND MR. HOWELL
Mr. Howell rises from his director chair.
SKIPPER AND MR. HOWELL
MR HOWELL
If you want people to find us, you've got to give them a universal starting point, like Fort Knox.
Mr. Howell draws an "X" somewhat in the middle of the United States.
SKIPPER
Fort Knox?
MR HOWELL
That's the only shrine my friends know, Fort Knox.
PROFESSOR (O.S.)
Mister Howell, ...
PROFESSOR
cranks the camera.
PROFESSOR
... we are wasting film.
SKIPPER, MR. HOWELL, AND PROFESSOR
MR HOWELL
You're so right, keep rolling, keep rolling.
Mr. Howell returns to his director chair. Ginger enters.
GINGER
If you want a landmark, Hollywood is here.
Ginger draws an "X" approximately where Hollywood is. Mr. Howell rises from his director chair.
SKIPPER, MR. HOWELL, AND GINGER
MR HOWELL
Hollywood?
GINGER
For ten percent, my agent will swim down here personally.
Mary Ann enters.
MARY ANN
We've got to start with the nation's capital, Washington, D.C.
Mary Ann draws an "X" approximately where Washington, D.C. is.
MR HOWELL
Washington, D.C.? I'm a Republican. No one will ever find me there.
SKIPPER
Mister Howell, if you'll just listen to me, we started from Hawaii. That's the best place to find us.
GINGER
If Lana Turner was discovered in a soda fountain, I can be discovered here.
PROFESSOR
PROFESSOR
Gilligan, operate this camera.
BACK TO SCENE
PROFESSOR (cont'd)
Now, listen.
Mrs. Howell enters. Gilligan pans the camera to follow her.
MRS HOWELL
Gilligan, point the camera this way, please. I want to send a few pictures to Princess Grace. Hello, Prince Rainier and all you darling children.
PROFESSOR (O.S.)
Gilligan, you turn that camera right back here.
Gilligan turns the camera back toward the slate chalkboard.
MR HOWELL
Right back here.
PROFESSOR
Now, starting with Peru--
MR HOWELL
Fort Knox, you go west. Denver men, then the San Francisco men.
SKIPPER
Why don't you stop and listen to me?
As Gilligan cranks the camera, the tripod's legs spread, lowering the camera to the ground. The castaways sink to keep themselves in frame. Gilligan swats while he cranks the camera until it stops on the ground.
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN:
EXT. CAMP - NIGHT
Professor stands in front of a film projector. Gilligan sits on the stationary cycle, ready to pedal to provide power to the projector. The other castaways, turned to Professor, sit facing the projection screen.
PROFESSOR
Now, before we roll the film, I'd like to explain something.
MRS. HOWELL, GINGER, MARY ANN, MR. HOWELL
MR HOWELL
Never mind the explanation. Just ...
PROFESSOR
MR HOWELL (O.S.)
...get on with the film.
PROFESSOR
Please, Mister Howell.
MRS. HOWELL, GINGER, MARY ANN, MR. HOWELL
GINGER
I've heard of having previews in out-of-the-way places, but this is ridiculous.
SKIPPER
SKIPPER
Oh, now, come on. Quiet, everybody. Now, you go ahead, Professor.
PROFESSOR
PROFESSOR
Well, in the processing of this film, I encountered what you might call a few technical difficulties.
MRS. HOWELL, GINGER, MARY ANN, MR. HOWELL
MRS HOWELL
Technical difficulties?
GILLIGAN
GILLIGAN
He means me.
PROFESSOR, MRS. HOWELL, GINGER, MARY ANN, MR. HOWELL
Mrs. Howell smiles.
PROFESSOR
Now, just remember that the main object of this film is to get ourselves rescued, and that is its only purpose.
PROFESSOR
PROFESSOR (cont'd)
So if the quality of the film from time to time appears to be inferior, it's just that--
MRS. HOWELL, GINGER, MARY ANN, MR. HOWELL
MR HOWELL
Never mind that. I can't stand late curtains or talky projectionists.
BACK TO SCENE
PROFESSOR
All right, Gilligan, start pumping the projector.
Gilligan pedals and the screen illuminates bright white.
MR HOWELL
Noisy projectionists.
On the screen "CASTAWAY PICTURES Presents" title card.
SCREEN WITH TITLE CARD
on a gong suspended from bamboo scaffolding. Pull back to Gilligan, in slow-mo, swinging a mallet toward the gong. Gilligan wears no shirt, but a hat and slacks. The mallet strikes the gong with a CLANK. Gilligan vibrates his whole body so his hat falls off.
GILLIGAN
pedals and smiles.
PROFESSOR, SKIPPER, MR. HOWELL, MRS. HOWELL, GINGER AND MARY ANN
watch the screen. The projector flickers.
DIARY ON SCREEN
sits on a table. A hand opens the diary. With pencil in hand, it writes "This is our story". The hand turns the page. The hand writes "HELP!"
BACK TO SCENE
They view "HELP!" on the diary page.
PROFESSOR
That should get our message across.
MR. HOWELL AND MRS. HOWELL
MR HOWELL
Well already you've goofed. Message pictures don't make any money.
GILLIGAN'S ISLAND ON SCREEN
MARY ANN (O.S.)
Oh, isn't that our island?
SKIPPER (O.S.)
Yes.
SKIPPER
SKIPPER
Now, if some sailor recognizes that, we'll be found. We'll be rescued.
GINGER AND MARY ANN
GINGER
Oh, after all these months, I don't know if I'd recognize a sailor.
GILLIGAN
pedals.
GILLIGAN
Hey, Skipper, here comes the part where you rescue everybody.
DIARY ON SCREEN
The hand writes "The Shipwreck" and underlines it with a fancy swish.
SKIPPER (O.S.)
Quiet, everybody, quiet!
SKIPPER CARRIES GINGER FROM LAGOON
Skipper carries Ginger ashore and places her next to Mary Ann.
GINGER (O.S.)
Oh, that's me. That's us, Skipper.
GINGER AND MARY ANN
Ginger claps.
SKIPPER
smiles.
MARY ANN, GINGER, AND SKIPPER ON SCREEN
Skipper returns to the lagoon. He hoists Gilligan into his arms.
SKIPPER AND GILLIGAN INVERTED ON SCREEN
SKIPPER (O.S.)
What happened?
PROFESSOR, SKIPPER, MR. HOWELL, MRS. HOWELL, GINGER, AND MARY ANN
tilt their heads to watch the upside-down picture.
PROFESSOR
Oh, technical difficulties, Skipper.
SKIPPER
I'm walking on my head.
GILLIGAN AND SKIPPER INVERTED ON SCREEN
GILLIGAN
GILLIGAN
Hey, that's great, Skipper. I never even saw that in "The Ed Sullivan Show."
GILLIGAN AND SKIPPER INVERTED ON SCREEN
GILLIGAN AND SKIPPER ON SCREEN
Skipper walks to the lagoon and tosses Gilligan into the water. The film reverses three times and then continues.
GINGER ON SCREEN
runs in slow motion to Professor, who sits at the dining table. Ginger throws her arms around him. Professor stands.
BACK TO SCENE
The image of Ginger and Professor appears on the screen as the castaways watch.
GINGER
Why am I moving so slow?
PROFESSOR
Technical problem.
GINGER AND MARY ANN
watch the film.
PROFESSOR AND GINGER ON SCREEN
Professor extends his hand for a handshake. Ginger disappointedly looks into the lens.
MR. HOWELL AND MRS. H0WELL
MR HOWELL
Wait a minute. I didn't say print that.
PROFESSOR AND GINGER
wrap their arms around each other in fast-motion and reposition their arms.
GINGER (O.S.)
Why am I moving so fast?
PROFESSOR (O.S.)
Well, it's a silent picture, Ginger.
GINGER AND MARY ANN
watch the screen. Ginger smiles coyly.
MR. HOWELL AND MRS. HOWELL
MR HOWELL
I don't think you should see this, Lovey. It's for adults. I've never been so--Never get the Legion--
PROFESSOR AND GINGER ON SCREEN
Ginger dips Professor over the dining table and they kiss for an extended time.
MR HOWELL (O.S.)
How'd you learn to hold your breath that long?
PROFESSOR (O.S.)
I used to be a scuba diver.
MR. HOWELL AND MRS. HOWELL
MR HOWELL
Sure it wasn't siphoning gasoline during the war?
PROFESSOR
stands next to the projector.
PROFESSOR AND GINGER ON SCREEN
continue kissing.
MR. HOWELL (O.S.)
Gilligan, I said close-ups. I remember saying distinct, "close-ups"!
GILLIGAN
GILLIGAN
Oh, they're coming up, Mister Howell.
GINGER ON SCREEN
Her face fills the screen.
PROFESSOR ON SCREEN
His face fills the screen.
GINGER ON SCREEN
Her face fills the screen.
PROFESSOR ON SCREEN
His face fills the screen.
GINGER ON SCREEN
Ginger blinks quickly. Then she opens her eyes widely.
PROFESSOR ON SCREEN
Professor raises his eyebrows.
GINGER'S MOUTH AND NOSE ON SCREEN
GINGER'S EYES AND BANGS ON SCREEN
Ginger blinks rapidly.
GINGER'S RIGHT EYE ON SCREEN
Ginger blinks rapidly.
GINGER (O.S.)
Look at it! And that's one eye.
GINGER AND MARY ANN
GINGER
Oh, Gilligan, you ruined the whole scene.
GILLIGAN
pedals.
GILLIGAN
Well, the, uh, the camera was still, but you kept moving.
GINGER AND MARY ANN
watch the screen.
GINGER'S MOUTH AND NOSE ON SCREEN
She moves her lips rapidly in fast-motion.
PROFESSOR'S LEFT EYE ON SCREEN
He moves his lips as if speaking and then opens his eyes widely.
GINGER'S RIGHT EYE ON SCREEN
PROFESSOR'S RIGHT EAR ON SCREEN
SKIPPER (O.S.)
Whose ear is that?
PROFESSOR (O.S.)
I, uh, I think it's mine.
GINGER'S MOUTH ON SCREEN
MR HOWELL (O.S.)
What's that horrible thing?
GILLIGAN (O.S.)
Ginger's mouth.
GINGER (O.S.)
Oh!
GINGER AND MARY ANN
Ginger fumes. Mary Ann cringes.
DOUBLE EXPOSED PROFESSOR'S NOSE AND MOUTH AND GINGER'S RIGHT EYE ON SCREEN
DOUBLE EXPOSED PROFESSOR'S NOSE AND MOUTH AND GINGER'S MOUTH ON SCREEN
DOUBLE EXPOSED GINGER'S NOSE AND MOUTH AND GINGER'S MOUTH ON SCREEN
DOUBLE EXPOSED GINGER'S RIGHT EYE AND THE RIGHT SIDE OF GINGER'S FACE ON SCREEN
DOUBLE EXPOSED PROFESSOR'S RIGHT EYE AND GINGER'S NOSE AND MOUTH ON SCREEN
DOUBLE EXPOSED PROFESSOR'S RIGHT EAR AND GINGER FACE ON SCREEN
MR. HOWELL AND MRS. HOWELL
MR HOWELL
I asked for a love scene, not an anatomy lesson.
GILLIGAN
pedals and shrugs.
GILLIGAN'S RIGHT HAND ON SCREEN
Gilligan extends his finger, points his index finger like a gun, and then extends his fingers.
SKIPPER (O.S.)
What's that?
GILLIGAN
pedals.
GILLIGAN
That's my hand. I got it in front of the camera.
MR. HOWELL AND MRS. HOWELL
MRS HOWELL
Oh, it's really quite difficult to follow the plot.
PROFESSOR
stands next to the projector and watches the film.
PROFESSOR
Well, the plot's not important, Missus Howell. It's the island, the people, and the danger we're in.
GILLIGAN
GILLIGAN
Yeah, like the part that's coming up now where I play a savage cannibal.
MARY ANN ON SCREEN
Mary Ann mimes picking nuts-in-May in fast-motion.
MARY ANN (O.S.)
Oh, and that's my best part.
Gilligan enters as a cannibal. Mary Ann drops the basket of fruit. Gilligan bends down and picks up the fruit and places them into the basket.
PROFESSOR (O.S.)
Yes, unfortunately, it's also the part where Gilligan opened the door to the dark room.
WHITE ON SCREEN
BLINKING ON SCREEN
SKIPPER (O.S.)
What's that?
GILLIGAN AND MARY ANN NEGATIVE IMAGE ON SCREEN
Gilligan says, "boo" and Mary Ann feigns fear.
MR HOWELL (O.S.)
Good heavens. X-rays.
PROFESSOR (O.S.)
Like I said, Mister Howell, ...
MR. HOWELL AND MRS. HOWELL
PROFESSOR (O.S.) (cont'd)
...there are great problems connected with this picture.
MRS HOWELL
It isn't even good enough, you know, for the Late, Late, Late, Late, Late Show.
GILLIGAN AND MARY ANN NEGATIVE IMAGE ON SCREEN
Gilligan moves Mary Ann to the pole and ties her to the stake.
BLINKING ON SCREEN
GILLIGAN AND MARY ANN ON SCREEN
Gilligan ties Mary Ann to the pole.
GINGER AND MARY ANN
Ginger closes her eyes. Mary Ann watches the screen gleefully.
MARY ANN AND GILLIGAN ON SCREEN
Gilligan dances around Mary Ann. The ropes fall off Mary Ann. Gilligan dances around Mary Ann. Mary Ann taps Gilligan on the shoulder. Gilligan screams and flees into the jungle.
SKIPPER ON SCREEN
Skipper points to the slate chalkboard to indicate where the Minnow drifted for days. Mr. Howell enters.
GILLIGAN
Oh, here comes the part now where we show where our island's located.
MR. HOWELL AND MRS. HOWELL
SKIPPER
SKIPPER AND MR. HOWELL ON SCREEN
Mr. Howell rushes back to his director chair. Ginger enters and marks Hollywood on the slate chalkboard. Mr. Howell re-enters. Mary Ann enters. Ginger vamps it up.
PROFESSOR
stands by the projector and watches the film.
SKIPPER, MARY ANN, MR. HOWELL, AND GINGER ON SCREEN
Professor enters.
PAN TO MRS. HOWELL ON SCREEN
MRS HOWELL (O.S.)
Darling, there I am. Look, look at me.
Mrs. Howell throws kisses to the camera.
MR HOWELL (O.S.)
Yes, you look absolutely ravishing.
PAN BACK TO SKIPPER, MARY ANN, PROFESSOR, MR. HOWELL, AND GINGER ON SCREEN
Each of them speak to the camera. They sink to their knees as the camera's tripod sinks.
DIARY
The hand writes "The End".
BACK TO SCENE
"The End" title card projects on-screen.
MR HOWELL
Cut the film!
PROFESSOR
Well, that's the end.
The screen goes dark.
MRS. HOWELL, GINGER, MARY ANN, MR. HOWELL AND SKIPPER
Skipper stands and turns to the projector.
SKIPPER
Boy, that's the end all right.
MARY ANN
Oh, it's awful.
GINGER
It's enough to make a boy and a girl leave a drive-in movie.
MR HOWELL
I'd walk out on that picture even on an airplane.
PROFESSOR (O.S.)
Please, listen everyone, ...
PROFESSOR
PROFESSOR
... the main purpose of this film is to get ourselves rescued.
BACK TO SCENE
SKIPPER
He's right. Now let's get it all nice and wrapped real airtight. We'll put it on a raft and hope somebody finds it.
GILLIGAN
Couldn't we see it again? I love a picture where I know the ending.
Gilligan dismounts the cycle.
MR HOWELL
Take my name off it, that's all right.
FADE OUT
END OF ACT THREE
TAG
FADE IN:
EXT. CAMP - DAY
Skipper sits at the dining table and listens to the radio.
PULL BACK TO REVEAL
Professor, Ginger, Mr. Howell, Mrs. Howell, and Mary Ann sit at the dining table.
RADIO (V.O.)
(filtered)
In Saturday's game, the Slippery Rock Teachers squeaked by the Polytech Institute to a crucial win of ninety-three to nothing.
Gilligan enters.
GILLIGAN
Hi, everybody.
MR HOWELL
Be quiet. We're listening to the news.
RADIO (V.O.)
(filtered)
Oh, here's a late bulletin on that mysterious film washed ashore on a raft.
SKIPPER
Hey, did you hear that? They found our film!
PROFESSOR
Wonderful. Boy, I hope it's--
Ginger clasps her hands as if in prayer and looks skyward.
GINGER
My career, I'm ruined.
GILLIGAN
Oh, we're going to be rescued.
RADIO (V.O.)
(filtered)
This film, made by unknowns, was the unanimous choice for first prize at the Cannes Film Festival. In a statement released today, the film was described as a work of genius.
MR. HOWELL, MRS. HOWELL, AND PROFESSOR
listen to the radio.
RADIO (V.O.) (cont'd)
(filtered)
Particularly effective were the numerous blacked out scenes where the audience was left to use ...
GILLIGAN AND SKIPPER
Gilligan stands slightly behind Skipper
RADIO (V.O.) (cont'd)
(filtered)
... its imagination. Though it was anonymously submitted, ...
GINGER AND MARY ANN
RADIO (V.O.) (cont'd)
(filtered)
... the committee is quite certain the film is either the work of the Swedish master, ...
MR. HOWELL, MRS. HOWELL, PROFESSOR
RADIO (V.O.) (cont'd)
(filtered)
... Ingmar Bergman, or that Italian genius, Vittorio de Sica, or possibly it was the combined effort of both. It was felt that this ultra-modern example of surrealism will bring back silent pictures.
BACK TO SCENE
RADIO (V.O.) (cont'd)
(filtered)
Well, whoever is responsible for this masterpiece, your prize is waiting. All you have to do is come to Cannes and get it.
GILLIGAN
You hear that?
GILLIGAN AND SKIPPER
GILLIGAN (cont'd)
We won the festival. First prize. Maybe it's a motorcycle.
Skipper removes his cap. Gilligan turns and roars like a motorcycle. Skipper hits Gilligan on his butt with his cap. Gilligan races into the jungle Skipper replaces his cap. Mary Ann looks dejected. Professor places his face in his palm.
DISSOLVE TO:
EXT. GILLIGAN'S ISLAND - ESTABLISHING SHOT - DAY
FADE OUT.
THE END