INDIANA JONES™ AND THE TOMB OF ICE
TIE.c Warning – THIS SCRIPT IS FAKE
It is not an official Indy 4 Script
FROM THE PARAMOUNT LOGO, MATCH DISSOLVE TO:
AN ICE-COVERED MOUNTAINTOP
Pulling back, at the foot of the mountain we see a
fierce, arctic snowstorm racing across the landscape.
It's difficult to tell whether it's night or day.
Through the white blanket of the storm, we see a small,
wind-battered Soviet bunker.
Atop the bunker, a radar dish rattles and shakes in
the powerful winds. A legend appears on-screen:
OUTPOST 37-A, NORTHERN SIBERIA, 1949
INT. SOVIET BUNKER
Inside the cramped bunker, the noise of a beat-up
radio crackles with a thick static. Seated at the
controls, a bearded RUSSIAN SOLDIER is shouting in
Russian. Behind him, a slightly younger SECOND RUSSIAN
mumbles, disgustedly. He grabs a thick leather leash
from the hook beside the door and tightens his hooded
coat about his ears. He opens the door and the winds
rush into the bunker.
EXT. SOVIET BUNKER
Outside in the storm, the younger Russian SLAMS the
metal door shut. Beside the door, a big dog sits
chained. The dog is barking at the landscape. The
Russian bends down and ruffles the dog's fur. His
affection go unnoticed by the dog, who continues to
bark at nothing. The Russian unhooks it from the leash --
-- and the dog takes off, running into the storm.
The Russian curses at the dog but his voice is lost in
the howl of the winds. Angrily, he trudges off after
it.
INSIDE THE STORM
The Russian soldier, still cursing to himself, climbs
up an embankment. He stumbles down the other side, the
faint sound of the dog's growl getting louder. Suddenly,
the soldier spots the dog, thirty yards away. It's just
standing there in the snowstorm, barking violently.
The Russian angrily charges towards it and secures the
dog to the leash, still cursing in Russian -- but then
his voice catches in his
throat.
He stands up abruptly.
The dog continues to bark.
At the officer's feet, still resting half-buried in
the snow and ice are --
THE FROZEN REMAINS OF A RAGGED SKELETON.
Its eyes are hollow and empty. Its jaw hangs open, the
torn shreds of what used to be its clothing flapping
in the whirling winds.
The officer backs away. Stumbling.
In its bony grasp the skeleton still holds a large,
IRON DISK.
Pulling back, we see that the disk is covered in an
odd, SPIRAL PATTERN of markings and scratches.
DISSOLVE TO:
OPENING TITLES -- OVER A BLINDING WHITENESS
Half a world away, the bright rays of dawn slip
through the foliage of a thick, smarmy jungle. The
deadly pulse of tribal drums slowly begins an ominous
pounding. The beat of the drums rises in volume until
it overpowers the rushing sounds of
nearby water. A mass of dark-skinned African warriors
become visible in the shadows of the jungle. Their
lithe bodies are colored with a patterned mix of mud
and paint as they stand ready at the banks of a
rushing river.
Suddenly, a BLOODCURDLING VOICE cuts off the beat of
the drums.
A wiry FIST, it's knuckles painted with dots of white,
holds a medicine staff up high. He THRUSTS it into the
air. Fitted atop the staff, amongst dried leaves and
necklaces of bones, rests an ancient CRYSTAL SKULL.
The AFRICAN MEDICINE MAN holding the staff stands
poised on
a slab of rock which hangs out over the rushing
current of a
raging river below. A belt of knotted bones tied
together hangs loosely about his waist. A tribal
headdress rests atop his painted, scowling face.
EXT. A JUNGLE RIVER -- WIDE SHOT OF WATERFALL
We see now the entire scene...
At the rim of a jagged cliff, a magnificent waterfall
tears through the mass of trees. It falls hundreds of
feet to the rocks of the lagoon below. But something
lingers at the crest of the waterfall - something that
is prevented from being
carried over with the tumbling current.
Closing in on the falls, we see the medicine man
twists his body and POINT the skull-topped staff
accusingly at a crudely fashioned, WOODEN RAFT - it's
roughly carved boards bound together with twine. Two
long lengths of rope hold the bobbing raft still. On
either side of the raft, TWO NATIVE WARRIORS stand
ready to sever the ropes and send the raft over the
falls.
Across the length of the raft, we see TWO MEN bound
side by side. Their arms and legs are spread out and
TIED to the boards. The first is a fat Arab thief
named HAMAL. The fat man sweats nervously, his face
panicked. The second man, who PULLS at his bonds,
struggling against the ropes, is --
INDIANA JONES.
Above the raft, the angry medicine man TEARS the
crystal SKULL from his staff and holds it before his
men.
MEDICINE MAN (subtitled)
These FOOLS! were caught trying
to steal the sacred skull of Nikal
from our people!
(beat)
Their punishment--
The medicine man turns towards Indy and Hamal:
MEDICINE MAN (Cont'd)
(grimly)
-- is death.
Indy looks at the shore -- lined with natives, their
weapons
held tight in their fists.
INDY
(smirking to himself)
Haven't heard that before...
"Oh god oh god oh god..." Hamal moans. A splash of
water
strikes him violently across the face. "I'm going to
die!"
A disgusted look crosses Indy's face. "You said the
Nurgandu tribe was extinct..." he says and turns to
glare at the fat
man beside him. "You said that even--" he strains
against his ropes, " -- their grandchildren had been
dead for centuries!"
HAMAL
(begging)
What did he say? What did he say!?!
The two men flanking Indy and Hamal slowly raise their
weapons above their heads. Their eyes are fixed on the
medicine man's, awaiting his signal.
INDY
(flatly)
They're gonna kill us.
Hamal begins to whimper again, babbling. A rush of
water attacks them, causing the raft to momentarily
DISAPPEAR below the surface of the river before it
BOBS back up seconds later.
Hamal has just enough time to cough out a mouthful of
water before the current PULLS the raft back down
again.
BENEATH THE JUNGLE RIVER -- UNDERWATER
Below the surface of the water, Indy and Hamal fight
against the brutal current. Their heads are forced
back as the raft is shoved SIDEWAYS. The angle FORCES
them into the current, causing it to tear at them even
harder, but it's now placed Indy preciously close to
the base of one of the bigger rocks. He PULLS and the
raft is bounced by the current CLOSER to the jagged
surface of the rock.
The ropes binding his wrist SCRAPE against the side of
the rock. Indy PULLS HARDER into the current, the rope
SCRAPES again --
-- then finally SNAPS!
EXT. THE SURFACE OF THE RIVER
The wooden raft BREAKS the surface of the rushing
water with a THUNDEROUS SPLASH! Indy springs to action,
his hands free, but his feet still tied. He turns and
frees the blubbering Hamal. Above them, the medicine
man SCREAMS orders at the TWO WARRIORS flanking the raft.
Hamal abandons Indy and DIVES from the craft into the
river. He SWIMS madly for the other shore.
The two native warriors bring their swords down and
SLICE the ropes in half! The raft is instantly CAUGHT
by the current and SPINS towards the crest of the
falls - taking Indy with it!
As if in slow motion, one of his free hands WHIPS OUT
and SNAGS the severed rope. Indy HOLDS ON, fighting to
keep the raft from plummeting over the falls.
The FIRST NATIVE WARRIOR, the one closest to Indy,
climbs down from his rock into the river to finish the
job -- but the
current CATCHES him and he is PULLED BELOW the raging
water.
He surfaces briefly with a gurgling scream before
being TOSSED OUT, OVER the falls!
The medicine man screams again and a flurry of
primitive arrows WHIZ through the air towards the
ZIG-ZAGGING raft. Indy FLIPS OVER, pulling the craft
into a 90 degree angle and the arrows MISS their mark
and STRIKE the bottom of the raft instead.
HAMAL, still trying to swim for shore, is HIT in the
back by one of the arrows. His dying scream is lost by
the roar of the current as his body is DRAGGED over
the falls.
The SECOND NATIVE WARRIOR on the far side LEAPS into
the air, towards the raft - his knife held high above
him. The rope in Indy's hands is stretched to its
limit, and the raft SWINGS OUT OVER THE FALLS!
The second native MISSES the RAFT and SPLASHES into
the river.
His arms FLAIL out and in desperation, he SNAGS the
side of
the raft --
-- which now HANGS COMPLETELY OVER THE FALLS.
The native's added weight causes the rope to STRETCH
even more and then, the rope SNAPS!
WIDE SHOT OF THE FALLS
From a bird's eye view of the waterfall we see Indy
and the native warrior --
FALLING fast through the air. The raft BREAKS APART as
it too falls; Indy and the native disappearing WITH A
DEAFENING SPLASH, BELOW THE WATER!
THE BASE OF THE FALLS -- UNDERWATER
Unconscious, Indy and the native SINK towards the
bottom of the lagoon. Indy is the first to snap out of
it and he shakes his head. His lungs burning for air,
he KICKS and SWIMS towards the light of the surface,
far above. A hand reaches out and SNAGS his ankle,
PULLING him back. Indy KICKS out, the foot landing
harmlessly on the native's chest, but he SHOVES and
breaks free! Indy SWIMS madly towards the surface.
THE WATER'S SURFACE
Indy breaks the surface of the water with a HEAVING
GASP -
his lungs GULPING in air. The thunderous ROAR of the
falls is now DEAFENING. Indy breathes HEAVILY. A thick
mist of water
is all around him. He quickly glances left to right to
get his bearings --
-- and looks up at the WATERFALL TUMBLING DOWN TOWARDS
HIM.
He's surfaced BEHIND THE FALLS where jagged handfuls
of rock jut above the surface of the lagoon. Suddenly,
the NATIVE LEAPS from the water with a SPLASH! His
tribal make-up now runs in colorful streams down his
dark body as he CRASHES ATOP Indy, the knife held
firmly in his solid grip. He PINS Indy against the
flat slab of a jutting rock. Indy catches hold of the
native's arm, HOLDING it back. With his free hand,
Indy CLOCKS the native in the jaw.
The native warrior REELS backwards from the blow and
the knife SLIPS from his grip and disappears in the
deep waters. Indy pulls himself to his feet, giving
his best "c'mon asshole" look. The native is ready for
the challenge, swinging at Indy with chunk of rock. He
drops the rock and LOCKS his fingers around Indy's
throat. Indy's face reddens, he's desperate! His
fingers stretch out, straining to reach the chunk of
rock before it's too late. The native leers.
Indy looks up at the roaring water behind them.
His fingers reach with renewed energy for the rock and
he GRABS it, SWINGING it at the native. Indy KICKS
HARD at the STUNNED NATIVE --
-- sending him FLYING BACK into the gushing wall of
water. The tremendous force of the falling tons of
water SMACKS into the native warrior, instantaneously
sending him to his death.
Indy breathes hard and heavy. He SLOGS his way to
shore.
From the haggard look on his face, he's beginning to
realize that he's not as young as he used to be.
DISSOLVE TO:
EXT. ARCHAEOLOGICAL EXCAVATION -- DAY
Crawling with workers who move about busily and carry
picks, tools and other supplies.
THE COAST OF IRELAND, SIX MONTHS LATER.
The excavation rests atop of a series of cliffs; the
waters
of the Atlantic seen as a thin blue line across the
horizon.
A series of deep trenches criss-cross the area and
some of the workers disappear into their depths.
A slightly overweight, bearded man of sixty or so,
JACOB CARTER, is the leader of this excavation. He
sits at the wheel of a beat-up old jeep that is moving
through the campsite, towards the hills above.
Beside him sits ABIGAIL SHAW, an attractive
thirty-nine
year-old paleolinguist. She's a scholar by nature, but
isn't afraid of getting her hands dirty. She has a
tendency to be abrupt and to the point; her voice has
a slight accent.
As Carter shouts over the noise of the jeep's engine,
we learn that the excavation was looking for traces of
early man when
they made an interesting, accidental discovery.
Abbey's been called in to make a complete translation
of this artifact - unearthed by Carter's team three
days ago.
The jeep climbs along a ridge overlooking the
excavation,
where Carter brings it to a stop. Carter gives her
some more background information on what they were
able to determine from the relic: the inscription
looks like it's in a rare, ancient form of runic
writing. At her feet, in the exposed, ripped open
section of the earth we see the relic: a BRONZE
DISK...
... one that looks VERY similar to the disk we saw in
the
opening scene. Abbey's crouches down, her fingers
tracing the scratches on this SECOND DISK. "These are
Viking runes," she says excitedly and then her face
seems confused. She reads a certain portion of the
inscription again, but before we can find out what's
so damned interesting...
... the sound of a commotion is heard coming from the
campsite.
She stands and they turn to see a BLACK JEEP, kicking
up a cloud of dust. The jeep barrels into the
campsite. "What the hell-?" Abbey says in confusion.
"Wonder what all the
fuss is?"
CARTER
Well whoever they are--
(beat)
-- they don't look very friendly.
As they watch, TWO MOTORCYCLES flanking the jeep
suddenly ERUPT with GUNFIRE - slaughtering the
workers. Abbey is HORRIFIED.
Carter's eyes narrow in anger. He's about to charge
down into the camp, when the jeep spins and roars
towards them --
They've been SPOTTED.
Carter springs to action. He shoves the disk into a
CANVAS SATCHEL, slings it over his shoulder and leaps
into his jeep.
Carter leans into the backseat and grabs a pistol, the
engine running. "GET IN!" he shouts. The black jeep
shoots over the crest of a hill -- followed by the
motorcycles speeding towards them. Abbey hops in,
barely with enough time to SLAM the door shut before
Carter guns the engine and PEELS OUT.
EXT. CLIFFSIDE ROAD -- FOLLOWING THE JEEP
Carter's jeep races up a deserted road, following the
edge of the cliffs towards town. A SHOT rings out from
the motorcycles
behind and Carter JERKS the wheel hard to the right.
"TAKE THE WHEEL!" Carter shouts to Abbey over the roar
of the engines. He climbs into the back, fumbling to
load his gun as the jeep SWERVES to avoid another
round of bullets.
Abbey slides into the driver's seat, righting the
SWERVING jeep. More gunfire from the unknown
assailants as Abbey's eyes flash to the rearview
mirror to see them closing in. Carter takes aim with
the gun, as the jeep swerves again. The gunshot
burrows harmlessly into the ground, kicking up a spray
of dirt and gravel. The first motorcycle pulls back
onto it's rear wheel and lets the front of the bike
come crashing down on
the back bumper of Carter's jeep. The dashboard is
suddenly PUMMELED by fire.
The windshield SHATTERS, sending shards of broken
glass in
all directions and Abbey SLAMS her foot on the gas!
Carter's jeep PULLS away as Abbey SPINS the vehicle
around a sharp turn.
Inside the black jeep behind, we see two forms, a
driver and a slinky, dark-haired woman.
WOMAN (subtitled)
STAY WITH THEM!!
But the pursuing bike can't make the turn and CRASHES
TO THE
GROUND. The second motorcycle doesn't have time to
correct
it's course and SMASHES into the wreckage of the other
bike.
In the rearview mirror of Carter's jeep. Abbey sees
the black jeep behind trying to tear through the pile
of wreckage, with little success. Abbey races towards
the town below, the noise and commotion causing a
crowd of people to take notice.
The black jeep makes it through the wreckage, it's
wheels still smoldering with flames. But it abruptly
STOPS as Abbey's jeep roars into town, unwilling to
risk pursuing her into a crowd
of witnesses. Abbey brings the jeep to a halt inside
the town square. It looks like they're safe.
She hops out and turns to the back seat, where we see
-
The slouched-over form of Carter, his hand held still
over his blood-stained shirt. He's DEAD.
The crowd of people is now on all sides of the jeep.
Abbey
HESITATES for a second, then grabs the disk and
satchel
DISAPPEARING with it into the crowd.
SLOWLY FADE TO:
INT. PRINCETON UNIVERSITY -- DAY
In a dim university lecture hall, an involved
discussion is underway. The worn book the unseen
speaker is reading from is flipped closed. As he takes
down his glasses, it is revealed to be the OTHER Jones
--
Professor Henry Jones, Sr., who is standing at a
podium at
the front of the lecture hall, reading from his notes.
Every inch of a blackboard behind him is covered in a
precise, neatly written scrawl. Though retired from
full-time teaching, Henry is giving a guest lecture
about the early medieval histories
of King Arthur. The discussion is interrupted by an
old woman who hands an envelope to Henry. He accepts
it without missing
a beat and proceeds to conclude his lecture.
A slightly younger man, who now occupies the
university chair of medieval studies thanks him for
attending and the students shuffle out of the hall.
Henry gathers up his papers and books. With the last
student gone, Henry moves towards the door...
... but then stops and remembers the envelope, still
in his hand. He opens it with a swipe of his thumb and
pulls his
eyeglasses on. It's a telegram. As he reads, we catch
just a few words, getting the sense that someone is in
trouble.
His expression is now deeply concerned. "Oh, dear," he
whispers softly. He hesitates for a moment. Shock and
worry flicker across his face, but then he folds the
telegram up and walks swiftly from the lecture hall.
INT. HISTORY MUSEUM -- DAY
Indy has settled down to the fall semester,
reluctantly giving up his days of adventure. He's
leading his students through the Egyptian hall of the
museum -- filled with ancient caskets and statues of
Osiris and Anubis. The eager students are taking notes
on particular pieces when Indy spots two mysterious
men in hats and trenchcoats. They
seem to be waiting at the entrance to the room.
Indy excuses himself and makes his way across the long
hall towards the two men. At the sound of Indy's
echoing footsteps approaching, one of the two men
turns to face him, but remains silent. The second,
heavier man remains with his back to Indy. "Something
I can help you with gentleman?" Indy asks, eyeing the
second man suspiciously.
In answer, the taller of two flips open his
identification. "Army Intelligence, Dr. Jones. We were
wondering if we might have a word with you." This guys
is slick - your average young government hotshot.
Indy is hesitant. "Actually," he says. "I'm in the
middle of class. Is it something important?"
At that, the second man finally turns. About sixty or
so, he's slightly balding and wears a thick, graying
mustache.
SECOND MAN
(grimly)
I think this would qualify as a
full-blown emergency, Dr. Jones.
We've seen this guy before. Over ten years ago, before
the war, this man - GENERAL MUSGROVE - brought Indy
into a race against the Nazi army to find the lost Ark
of the Covenant. But once
it was found, it conveniently disappeared behind the
solid, beauracratic wall of red tape.
Needless to say, Indy's not exactly happy to see him
again.
INT. MUSEUM BOARD ROOM -- LATER
"What is it this time?" Indy asks irritably.
Musgrove smiles slightly and gestures to the table.
"Why don't we take a seat?" Grudgingly, Indy
complies.
LT. COL. HARRINGTON, the younger man, busies himself
by setting up a film projector as Musgrove continues:
"To be quite frank, Dr. Jones, we've got something of
a very... delicate -
situation on our hands here."
Indy smirks, not surprised, saying: "Whatever it is -
I'm afraid I'm not interested."
Grudgingly, Indy gives in and agrees to listen to what
they have to say. Harrington, now seated, picks up:
"Over the past few years, essentially, since the
bombings of Nagasaki and Hiroshima, the balance of
power has been turned completely
on end. Politically speaking, our demonstration of
atomic
capability caused a very dangerous war to erupt - a
Cold War."
INDY
(irritated)
You can skip the current events,
I've seen the headlines.
Musgrove continues, more bluntly: "The Soviet Union is
in a very difficult position. They suffered enormous
casualties
during the war... With a madman like Stalin in power
-- God knows what they're capable of." He frowns,
determined. "We can't allow Communism to run rampant
across the globe."
Musgrove nods and Harrington dims the lights. The
projector
sparkles to life.
GEN. MUSGROVE
(grimly)
One of my best men died, trying to
get this film out of Russia.
The silent black and white film begins in grainy
whiteness. The jerking camera pans up and we see
SOVIET SOLDIERS in the snow.
One of the men is waved out of the way of the camera
and we see a SKELETAL CORPSE, submerged in the ice. A
creepy man, with a pattern of scars criss-crossing his
bald head is seen in the footage. The man's eyes are
eerily intense, captivated by the skeletal remains.
Harrington identifies him as COLONEL ANDRIK ROSTOV --
Russian KGB. This Rostov appears to be in charge,
shouting orders for the other men to back away.
Through the choppy footage of the find, we see the
disk, and it's unique spiral pattern.
Just as Rostov PRIES the disk from the skeleton's
grasp, a hand DARTS OUT and COVERS the lens, forcing
it away and shouting at the cameraman in Russian.
Indy's interest is growing.
"What's on the disk, we can't be sure," Musgrove
explains. "But a second -- almost identical disk --
was found by a team of archaeogists three days ago."
"Yesterday," Harrington explains, "all but one of that
team was killed in a vicious attack."
The lone survivor has reluctantly agreed to transfer
the disk over to the military... on one condition:
They'll only give it to Jones himself. Indy's at first
hesitant. Eventually, he agrees - but only to the
transfer.
INDY
After that, this is your mess
to clean up --
(beat)
-- not mine.
EXT. DOWNTOWN MANHATTAN -- THAT NIGHT
A literal torrent of rain falls relentlessly. The last
rays of light fade across the gleaming city. In the
blue-black night, flashing lights from the buildings
above and the street below gives the familiar skyline
an electric glow. One particular building stands out
from the rest. Perched atop a sloping rooftop, in
bright, neon green letters curving around a solid,
glass dome, it reads: CLUB VOODOO.
INT. CLUB VOODOO
The upscale club is as extravagant as it is crowded.
The
circular dome provides almost every table with a
spectacular view of the city's skyline. Ritualistic
voodoo markings, tribal masks, hand-carved shields and
authentic spears adorn the roughly textured walls. The
Cuban-flavored sounds of the Big Band era entertain
the club's patrons, seeming to beat in
unison to the rhythmic sound of the falling rain.
Indy, smoothly dressed in a sharp black tuxedo, sits
at a reserved table near the edge of the circular
room. Like a hawk, his eyes dart back and forth from
the club's entrance to the busy dining area.
At that same moment, across the club, Harrington and
another dark-haired government agent stand apart from
one another, in the shadows of the club. Like Indy,
their roving eyes continue to scan the crowd.
Indy's brow slowly begins to crease. He smells
trouble.
But his thoughts are interrupted by the arrival of a
beautiful woman. Indy's gaze SLAMS to a halt.
Her eyes lock with his, instant relief flooding her
worried face. She descends the club's stairs and walks
quickly towards him. Dressed to the nines, we almost
fail to recognize her as ABIGAIL SHAW but then we
see...
... the thick and battered CANVAS SATCHEL, slung over
her shoulder. The satchel stands out oddly against her
otherwise elegant appearance.
Indy hides his shock as she comes towards from him.
They
obviously know each other. "Hello, Indy," she says
nervously.
Watching her and Indy, Lt. Harrington, calmly turns
his head and speaks into something hidden within his
coat: "Contact made. No sign of any interference."
Abbey tries to smile, her eyes itching to look back
over her shoulder. She's nervous, but trying to hide
it.
Indy is shocked. "Abbey.. What the hell's going on?
What's this all about?" But before she can answer, a
massively tall and thickly muscled man enters the
club. Indy sees him over Abbey's shoulder. The big man
steps down from the elevator.
CLOSE ON THE BIG MAN
AGENT URICH. Standing well over six feet, the dark,
trenchcoatted man looks directly at Indy and Abbey...
... his eyes fastening on the satchel.
Indy's gaze automatically flashes to Harrington - who
hasn't yet seen them enter. His eyes make contact with
Indy's and, seeing
the warning look in his gaze, he looks back to quickly
scan the entrance. Harrington reaches for his weapon
--
-- but never makes it. A barely perceptible movement
and a pair
of delicate hands reach from behind him, a thin cord
held in their grasp. The cord LACES about Harrington's
throat and his face
reddens in suffocation. He kicks and flails, then
abruptly slumps to the floor, dead. It's over in
seconds.
The dark-haired, slinky form of AGENT NATALYA steps
from the
shadows where Harrington stood. Unbelievably, no one
in the club has noticed. As if in slow motion, Indy
looks to the Musgrove's other agent, only to see him
similarly disposed of by another Soviet. Indy gives
Urich a deadly glare, then GRABS Abbey's wrist.
They stumble onto the dance floor, clumsily dancing.
Agent Natalya pursues, but is swept away by the
dancing couples. Indy steers Abbey across the floor,
moving towards the crowd gathering at the club's exit.
There, two more Soviets enter and scan the dance
floor, looking for them. Unseen, Indy and Abbey, still
dancing, change directions.
For a second, Agent Urich loses them in the swarm of
dancing
couples, but then catches sight of them at the doors
of the club's noisy kitchen. He motions at his closest
Soviet agent, who pushes through the crowd towards
them. Indy grabs an ornamental spear, hanging as a
decoration on the wall. And he and Abbey disappear
through the swinging doors.
INT. THE NOISY KITCHEN
As they tear through the steam and sizzle of the
kitchen, Abbey glances back into the club. The doors
swing open and then closed, giving her just enough
time to see a Soviet agent fighting his way into the
kitchen.
"Come on!" Indy shouts, his voice barely heard over
the kitchen noise. The shocked staff watches in
surprise as, seconds later, the two burst through a
fire escape door.
EXT. THE ROOFTOP OF CLUB VOODOO
The rooftop of Club Voodoo. Indy and Abbey SKID to a
stop, just short of falling over the rooftop's
railing. From a vertigo
inducing angle, we see the glass dome of Club Voodoo
sits atop
two narrow, concrete steps. The steps slope downwards
forty feet towards the edge of the rooftop.
Lightning crackles and reveals a portion of the
building below them that is undergoing construction.
Cranes, cables and I-beams are suddenly illuminated by
the eerie blue-white flash and, less than a second
later, the resounding crash of thunder cuts off
the rhythmic pulse of the falling rain.
Indy grumbles, peering over the railing's edge.
INDY
(grumbling)
Uhhh... no more heights.
Just as Abbey turns to ask where the hell they're
supposed to go now, the whine of a rapidly approaching
HELICOPTER can be heard growing louder by the second.
Indy and Abbey SPIN AROUND, just in time to see a
slick, black helicopter scream past them. The copter
circles back and twin machine guns, mounted on each
side, shower Indy and Abbey with a hail of bullets.
"Go! GO!", Indy shouts, shoving her ahead of him to
scurry up the dome's service supports. He quickly
follows and they climb to the very top of the club.
Below them a Soviet agent bursts through the rooftop
doors.
Indy HURLS the spear at him, and it strikes him in the
chest. He falls over the roof into the night sky. Indy
smirks, but his
grin fades as AGENT URICH appears below, hot on their
heels.
The big agent pursues them up the ladder, his hands
like claws reaching for Abbey's canvas satchel. With
little room to maneuver, Indy steps in and SWINGS a
vicious uppercut solidly into the man's jaw. The giant
Russian doesn't even move.
A thin dribble of blood appears from his broken nose.
He KICKS out with a BOOTED FOOT at Indy, sending both
Indy and Abbey OVER THE RAILING --
-- to come crashing down onto the glass ceiling of the
club.
INT. CLUB VOODOO
The band's number grinds to an abrupt halt and the
shocked patrons below look up at the dome, in utter
surprise.
EXT. THE GLASS DOME OF CLUB VOODOO
The massive bulk of Urich SLAMS into Indy like a
cannonball.
Inside, the shocked patrons look up at the twisting
pair,
who SLIDE down uncontrollably along the slick surface
of
the glass dome. The struggling pair accidentally knock
into Abbey who slips, falling backwards, scrapes
against the
concrete steps and then lands with a splash on the
sloping
side of the rooftop.
The rushing rainwater PULLS her along. Indy DIVES
after her,
followed closely by Urich. The satchel with the disk
is loose, carried along with the falling water that
gushes over the edge of the rooftop into the sky.
Abbey reaches for the satchel, as Indy's hand
STRETCHES
for hers... The trio's momentum propels them to the
very
edge, where they TUMBLE OVER and FALL into the night
sky!
THE EDGE OF THE ROOFTOP
The miniscule lights of the city below, cars streaking
by like
marching ants. The night crackles with lightening and
we see that Indy and Abbey are hanging from the
massive, gaping
jaws of a stone gargoyle.
Indy has snagged the disk in one hand, his arm hooked
over the gargoyle's fangs. Abbey pulls herself up and
over the horns of the stone sculpture. Hanging below
him, the forgotten Urich pulls himself up from the
gargoyle's claws. He points a gun at Ind and demands
the disk.
Indy reluctantly begins to hand it over --
-- but instead WHIPS THE BAG at the Russian! The
weight of the iron disk within SLAPS the man hard
across the face, sending him PINWHEELING through the
air.
He lands with a solid THUD two stories below amongst
the
tangle of construction materials.
Indy, battered and bruised breathes heavily and sighs.
Still gripping the satchel, he turns to smile
lopsidedly up at Abbey when his eyes WIDE. Just over
her shoulder the silhouette of the helicopter rushes
back into frame, streaking towards the pair. Its
mounted machine guns CUT THROUGH the night air once
again. Abbey DUCKS out of the way, as bullets WHIZ
past Indy's head. The copter is unbelievably close --
At the last second, Indy lets go!
He FALLS through the sky to the construction below and
lands
on the unconscious Urich. With a SMACK and a cloud of
dust, the
Soviet unknowingly breaks his fall. Dazed, Indy
struggles to his feet, slinging the satchel over his
shoulder, and DASHES across the criss-crossing
I-beams. The air about him WHISTLES with the sound of
speeding bullets before striking the steel beams at
his feet with the rat-a-tat-tat ping of metal against
metal. Indy's out of options, and room, as the copter
circles back for a final pass. The pilot dips the
craft into a vertical, its rotating BLADES spinning
closer and kicking up a HAIL of SPARKS as the blades
cut into the metal I-beams at his feet.
Indy's eyes search desperately for something to use in
defense before the copter cuts him in half. Indy's
gaze finally stops on a pile of cable and rope
gathered at the corner of the construction. He grabs a
handful of the cable tethered to an iron wench and
THROWS it at the last second at the spinning blades!
The cable quickly WRAPS itself around the propeller
blades, causing it to FLIP OVER. Out of control, it
now SKIMS the side of the in-construction skyscraper,
tearing it to pieces. Indy grabs another handful of
the cable, throwing it WHIP-LIKE
across the chasm.
The cable CATCHES the lip of the "U" in the neon
letters that spell "CLUB VOODOO". Indy DIVES into the
air, swinging across the gulf, as the I-beams at his
feet collapse and the
helicopter spirals down to a fiery explosion. The
letter "U"
blinks out, bending in half from Indy's weight, but it
holds.
DANGLING from the neon sign, Indy looks back at the
blazing scar in the construction below. His eyes stop
at the now vacant spot - where only moments before -
the Soviet Agent Urich lay unconscious. But he's no
longer there.
EXT. MANHATTAN ROOFTOPS -- NIGHT
The storm has come to an end. In the distance before
us, we
see the smoking wreckage of the helicopter. The lights
from
the neon sign now spells "Clb Voodoo" but still
sparkles.
Emergency fire trucks and ambulances have arrived on
the
scene and a crowd has gathered on the street far
below.
We're on a nearby rooftop, watching the scene. The
large shadow of a man falls across the gravel of the
rooftop. The dying flames of the copter's wreckage
sends flickers of light across the features of his
thick, heavy brow, and we recognize him as Agent
Urich.
Aside from a minor cut at the corner of his mouth, he
seems to have fared much better than Indy did. The
slinky form of AGENT NATALYA stands slightly behind
him, her face expressionless.
A voice, calm and collected breaks the uneasy silence.
In
perfectly accented Russian, he speaks.
VOICE (O.S.)
I take it you... failed in your
mission, Comrade?
Urich gives a clipped, humbled nod and apologizes.
Moving into the light, we recognize COLONEL ROSTOV -
flanked by two nameless Soviet agents. Thin shafts of
moonlight strike his pale, lined face. He suddenly
turns towards the big Soviet and backhands him across
the face. He curses in Russian, but remains utterly
calm.
COL. ROSTOV
It appears this... Jones will be more
trouble than I had anticipated
(beat)
No matter. We will deal with the Americans
soon enough, and the disk will be ours.
INT. ABANDONED WAREHOUSE -- LATER THAT SAME NIGHT
The darkened warehouse is lined with crates and boxes
that have been pushed and stacked on the sides. A
portion of the room has been transformed into a
makeshift base of operation for Musgrove and his
agents. Musgrove enters, as Indiana drops the canvas
satchel onto a table covered with maps and photos.
Soaked and freezing, Abbey sits wrapped in an Army
issue blanket. As Indy withdraws the disk she comes to
stand beside the two men. Nearly twelve inches in
diameter, the disk has a series of large slots cut
through its surface.
"Well, what the devil is it?" Musgrove demands.
Slightly annoyed by the man, Indy runs his hand along
the circular pattern of runes, and translates: "May
those unworthy who approach these hallowed walls... be
turned and claimed by the breath of Njord. For
entombed within the glory of... " the message breaks,
"... rests the sleeping king, Arthurus Rex."
He looks up from the inscription, saying, "KING
ARTHUR."
The soundtrack music soars!
Indy's eyes are alight with the possibilities - could
Arthur's tomb be out there, waiting to be found?
Musgrove isn't as impressed. "Wait a minute, wait a
minute. King Arthur? You're talking about a fairy tale
- a bedtime story! Arthur never existed."
INDY
Maybe not the Arthur of legend.
Camelot, Merlin, they're probably just
window dressing...
But there has been some evidence found
that supports the historical existence
of a historical Arthur."
Musgrove's still hesitant to believe. "Well then what
would
the Soviets want with Arthur's body?" he asks. Indy
looks up from the disk.
INDY
Well maybe they're not after his body.
After all, there's a chance he'd be buried
with his sword --
(beat)
The sword Excalibur.
Silence and then Indy goes on:
INDY
Excalibur was said to be forged by
the hand of God himself. It was
supposedly unbreakable...
ABBEY
(quoting)
"... and he who carried the sword Excalibur
into battle was assured holy victory..."
The sentence hangs ominously in the air. The effect of
her words are not lost on Musgrove. He asks Indy to
pick up the chase and find Arthur's tomb before Rostov
does.
But Indy's not interested.
ABBEY
(determined)
Then I'll do it.
Indy argues with her, but she won't listen. Left with
no choice, Indy tells Musgrove to find them some quick
transportation, to London.
EXT. MILITARY AIR STRIP -- LATER THAT NIGHT
A streak of red marked on a faded map charts their
progress
as a military DC-10 makes its way across the Atlantic.
On board we see Indy studying old, thick volumes of
Arthurian lore. Miniscule images of the Knights of the
Round Table flash by
on the pages: Galahad, Bedivere, Lancelot, and Arthur
himself - his mighty sword Excalibur held high,
charging into battle.
Soon, the plane touches down and the streak of red
comes to
a stop on the faded map just south of London itself.
It is
now day.
EXT. GLASTONBURY ABBEY, OUTSIDE LONDON - AFTERNOON
Tall, broken spires raise up into the afternoon sky,
their
torn and abruptly ending. Entire portions of the
building are
now missing and the structure's been reduced to the
uneven, skeletal remains of the magnificent cathedral
it once was.
Indy and Abbey have joined a small gathering of people
who
have assembled at the entrance of the ruins. A British
tour guide leads the group along what would have been
Glastonbury's central aisle but is now merely flat
grassland. The guide is giving an informative lecture
detailing the
history of the old church.
Indy and Abbey aren't really listening to the guide.
Through their conversation, we learn that years ago
the two had
something between them - something serious. Talk of
the past
brings hurt feelings to the surface and Abbey says
something
that stings. The tour guide is leading the group
further into the ruins as a now silent Indy and Abbey
tune back in to his words. "Hundreds of years ago,"
the guide continues "this entire area was partially
covered by a sea of marshland and Glastonbury became
known as the ëIsle of Avalon.'"
"According to the legends," the guide says, his voice
dropping, "the Knights of the Round Table brought the
body of the dying King Arthur here - where he was
laid to rest." He gestures to the ruined cathedral and
several tourists snap off a round of photos, "In 1184,
an accidental fire laid waste to the entire building,
burning it to cinders..."
INDY
(stopping)
Wait a second...
He thinks quickly, then looks up at the ruins, sudden
realization sinking in. "C'mon" he says, taking
Abbey's hand and leading her away from the ruins.
ABBEY
(confused)
But this is our best lead- !
INDY
Here's a better one --
(beat)
That fire wasn't accidental.
INT. THE BRITISH MUSEUM, LONDON - AFTERNOON
A short time later, we're in the library of the old
museum.
The walls are lined with row upon row of ancient
texts. Indy
and Abbey are greeted by the museum's curator who has
pulled
something from storage at Indy's request. That
something, stretched across a huge oak table, is a
tattered and frayed CLOTH TAPESTRY. Indy walks
casually around the table, his
fingers reaching out to touch the age-old fabric, the
embroidered medieval uncials and simple figures.
"The Ragnar Tapestry," he says, a touch of reverence
in his voice. As Abbey looks closer, we see that the
six hundred
year-old tapestry is embroidered with numerous images
of
Viking warriors and long ships.
INDY
(explaining)
Ragnar was the last of the Viking
warriors - at a time when Christianity
had brought about an end to his all
of the raiding and killing.
(beat)
Towards the end of the 12th century,
Ragnar led a series of brutal raids
along the English coast -
ABBEY
(understanding now)
- with one of those raids ending
the fire at Glastonbury Abbey.
She points to the lower corner of the tapestry, where
we see
an embroidered image of Glastonbury Abbey - in flames.
The
tapestry shows the Vikings thieves making off with
many of the church's priceless relics and treasures.
INDY
(finishing)
This tapestry - dates to within a
few years after Ragnar and his
men disappeared.
"Disappeared?" Abbey asks.
INDY
In the winter of 1185, Ragnar's ship
was sighted deep within the Northern
Atlantic -
(beat)
- and then was never seen or heard
from again.
"Well, what happened to them?" the museum curator
pipes in.
Indy's face shows little surprise. "Nobody knows for
sure. Lost at sea more than likely. Maybe this
tapestry can tell us."
Leaning closer, Indy finds that the lower portion of
the
tapestry has recently been carefully torn away. Indy
is told that the museum's Dr. Richard Kindersley - an
intense scholar of Viking legends - may be familiar
with the fate of Ragnar
and his men.
INT. VARIOUS EXHIBIT HALLS
Indy, Abbey and the museum's curator walk quickly
towards Kindersley's office. As they pass through an
Indian exhibition,
a small statue of Kali, the Hindu goddess of blood
stares blankly at the passing trio from within a glass
display case.
A pair of TWO WORKMEN suddenly stop what they were
doing and
silently follow the trio. There's an air of
suspiciousness
about them - these two are no workers. Unaware of the
two men following them, the group comes to a long
hallway lined with offices, and the museum's curator
finally excuses himself to attend to his other duties.
Indy and Abbey step inside Kindersley's office. The
room itself is simple enough - a scholarly office
lined with books, and
ancient maps. Kindersley's desk is broad and neatly
arranged. Its big canvas chair is turned around so
that its broad back faces the open door.
"Indy," Abbey says, stopping him. He turns towards her
and she touches his arm. "I didn't mean what I said
back there."
He shrugs it off, and lets it go. Their feelings
bubbling to the surface again, he moves in to kiss
her. But then -
THE DOOR SUDDENLY SLAMS SHUT!
Indy SPINS, away from Abbey, just as the thudding
sound of something big lands hard against the door -
splintering the solid oak and barricading it from
without!
Indy THROWS his shoulder into the door, to no effect.
ABBEY
(nervously)
Uhhhmm... I think you should probably
see this.
He turns to see Abbey backing away from Kindersley's
desk, and we see the grinning skeleton of a slumped
over neanderthal man seated in Kindersley's chair. A
complex series of wires intertwine
themselves around his rib cage and connect into a
small, slowly ticking clock. A message pinned to the
broad skull's forehead reads: "BYE-BYE."
Indy's eyes go wide. He springs into action, grabbing
a small
file cabinet and lifting it above his head. He hurls
it
heroically against the big window and then watches
helplessly -
as it bounces off with little effect.
Indy looks back to the ticking hands of the clock.
Just over
thirty seconds left... He looks over at Abbey, giving
her a
half-hearted but reassuring glance. "Don't worry...
I'll think
of something."
ABBEY
Is that what I think it is?
With one sweep of his arm, Indy clears Kindersley's
desk, sending papers scattering into the air.
INDY
Yup.
ABBEY
Do you -
(beat)
You don't know how to defuse it...
(hopefully)
... do you?
He leans into the desk, pushing it across the floor,
into a direct line with the window.
INDY
Nope.
Trying to keep her cool, Abbey's voice only slightly
shakes as she asks, "Well then what're we gonna do?"
In answer --
Indy BARRELS into the desk, shoulder first, SHOVING it
into and through the window. The window finally
SHATTERS! A jagged opening remains just barely wide
enough to crawl through. Indy quickly SHOVES Abbey
over the desk and out into the museum's courtyard.
With one last glance at the ticking skeleton, Indy
DROPS through the window as a fierce explosion blows
Kindersley's office apart!
INT. THE RUINS OF THE MUSEUM -- EVENING
Hours later, inside the rubble of what used to be
Kindersley's office. Indy stands, amidst the charred
ruins of the offices
after bearing a lengthy onslaught of questions from
London police
officers. Abbey stands behind him, holding an ice pack
to the
back of her head. In the hallway outside, a mustached
man with closely-cropped red hair is talking with a
Scotland Yard officer. Indy makes eye contact with
Abbey.
"How's the head?" With a slightly sarcastic glare, she
replies with a smile, "Thanks. It hurts. Bad."
The mustached man - INSPECTOR CORRIGAN - finishes with
the younger officer and walks over towards the two of
them.
INSPECTOR CORRIGAN
(sighing)
Well, you were right. Kindersley's
apartment's been broken into and
ransacked...
(beat)
No sign of the good doctor, though.
He pauses, beginning to eye Indy and Abbey
suspiciously. "So it looks like we've got ourselves a
genuine mystery on our hands. Wounded civilians, a
missing professor, over a thousand pounds worth of
damage..." he pauses.
"...and you two seem to be the only clue. So for the
last time..." the Inspector continues, then calmly
pauses, leaning over towards Indy, "Who did this?"
Indy glances quickly at Abbey, slipping on his best
innocent face "I'm sorry Inspector... I'm afraid I
can't help you."
Corrigan doesn't look like he believes him. He lets
out a long sigh, giving up. "Well, in that case...
you're free to go."
Indy nods, and he and Abbey turn to leave. "One more
thing -" Corrigan calls to their backs. Indy turns,
eyebrows raised.
"Whoever did this," he continues, "they're no one to
be trifled with. I'd watch my back if I were you."
INDY
(smirking)
Story of my life, pal.
EXT. LONDON STREET -- NIGHTFALL
Indy and Abbey - in the back of a taxi - have arrived
at Kindersley's London Apartment. The thickly accented
driver peers outside the window at the old brownstone
- roped off with police tape. "Looks like they's been
some excitement ere today."
Indy gets out of the cab and takes a quick look at the
house. Leaning in through the window, he looks at
Abbey: "Wait here."
She shakes her head, "Dammit Jones I'm not -". Indy
begins to argue but she cuts him off, saying, "What if
there's trouble?"
"Well, that's why I want you to stay here."
"She'll be plenty safe ëere wit me, sir." the cabbie
pipes in.
Indy smirks at him, "Great", he mutters and makes his
way into
the house, forcing the side window open.
BACK IN THE CAB
Abbey, still angry, watches Indy slide through the
window into
the house. Seeing Jones is now out of sight and sound,
the cabbie turns on the charm. Abbey forces a smile,
her eyes flicking back to the house. The cabbie
continues to ramble on, and we see Indy's silhouette
walking slowly through the house. Her eyes suddenly
go wide, as she sees another silhouette snooping
around in the opposite side of the house:
Someone else is in there!
She jumps from her seat and quickly exits the cab. The
driver
is stunned, as she runs towards the house. He stops,
cupping a hand before his face and exhales. He
shrugs.
INT. KINDERSLEY'S APARTMENT
Abbey finds Indy, who begins talking very loudly, "I
thought I told you to -" Her hand darts out to cover
his mouth, saying "Shhhhhh, there's someone else in
here!"
Just then they here a rustling of papers and a thud of
something shattering in the next room. Indy, now
serious, silently moves into the room, creeping up
behind a dividing wall. On the other side of the wall,
we see the silhouette of a man stumbling in
the darkness. Indy reaches out, seizing the man about
the shoulders and tackling him! Another rustle of
papers and crunching as they hit the floor hard. We
hear someone groan.
"Jones?!" Abbey calls, running into the room.
"What?!" two voices shout back.
A second's silence of recognization, and then:
VOICE
Junior?
INDY
Dad?
ABBEY
Huh?
The lights suddenly flick on as Abbey finds the light
switch.
Sure enough, Indy's tackled Henry Jones, Sr. - his
father - to
the cluttered floor of Kindersley's apartment. "Dad,
what the hell are you doing here?!!" Indy asks,
stunned.
"I might ask you the same question," he grunts,
picking himself
up from the floor and dusting himself off. He's got
his trademark briefcase with him.
"You're lucky you didn't hurt yourself!"
Henry, finally noticing Abbey, smiles in her direction
HENRY (to Indy)
(whispering)
Tell me -- where do you manage to
find them?
INDY (to Henry)
Actually, this one found me...
Indy awkwardly introduces the two.
INDY
Ah, Abigail Shaw
(beat)
this is my -
HENRY (smiling)
-- older brother, Henry
Indy sighs and rolls his eyes.
"And here I thought you were one of a kind," Abbey
smirks. Henry looks at Abbey, a twinkle in his eyes,
and gently kisses her hand in greeting. She's
absolutely charmed.
"All right, that's enough..." Indy says, slightly
jealous. "Now what ARE you doing here?" As Henry
explains, Kindersley's an old colleague of his from
their college days. The senior Jones was recently sent
an urgent telegram from him and feared the worst. He
came as soon as he could.
As they're talking, Abbey continues looking through
the scattered papers for some kind of clue the missing
professor might have left them. Henry finds and old
college photo of he and Kindersley.
He takes it down form the wall and notices something
scrawled
on the wall that was hidden behind the frame. They
appear to be numbers - or a code of some kind. His
eyes narrow as he peers
at the numbers. "I think I've found something."
"What is it?" Indy asks, coming to stand beside Henry
- who
reads the numbers aloud. "Those sound like
coordinates..." Abbey realizes, "...latitude and
longitude."
"Right, but what for?" Indy wonders aloud. Luckily,
they find a map in the mess and are able to pinpoint
the coordinates - which seem to be somewhere along the
English coast.
ELSEWHERE -- THAT SAME NIGHT
Late into the night, an old man toils over ancient
texts
and records, including the missing portion of the
Ragnar
tapestry. He is nervous and worried, but furiously
continues
to translating something. He leans over the desk and
inspects the first disk - finishing another portion.
It's KINDERSLEY.
The room he's in is literally filled with armed Soviet
agents.
Behind him, Colonel Rostov orders him to move faster
and
complete the translation.
EXT. LONDON TRAIN STATION -- NIGHT
Indy, Henry and Abbey are boarding a sleek, high-speed
passenger train that will take them along the English
coast towards the coordinates they found on
Kindersley's wall. They move into the classy dining
compartment and settle down for a light dinner and
some conversation. It is Henry that enlightens them on
the Ragnar legends.
HENRY
According to the legends, Ragnar
himself was killed in another raid
shortly after they set the torch to
old Glastonbury.
His men, of course, were later presumed
to be lost at sea...
(beat)
Though some believe that they may have
set sail to find Valhalla...
INDY
The hall of the dead.
ABBEY
But Valhalla isn't real.
INDY
(countering)
And until a few days ago...
neither was Arthur. But we
don't have the slightest idea
where Valhalla could be.
Silence.
HENRY
So what -? We just give up?
After we've already come this far?!
INDY
(serious)
I never give up.
Silence again as Henry considers that.
HENRY
(as he cleans his glasses)
Well, actually Junior...
(beat)
You did quit little league...
-- and the chess club...
(looking up)
Let's not forget every relationship
you ever been in...
ABBEY
(smiling)
Amen to that.
They finish dinner and Henry frowns, knowingly, as
Indy follows Abbey back to her compartment. With a
smirk, Henry retires alone to his and Indy's
compartment.
INT. ABBEY'S COMPARTMENT -- NIGHT
Things are starting to heat up between Indy and Abbey
- the fire of their old feelings fueled by the light
dinner conversation. She's about to invite him in
when Indy accidentally says the wrong thing and their
playful mood turns instantly sour.
Abbey slams the door shut behind him and a regretful
Indy heads back to his compartment. He enters the
darkened room, closing the door behind him.
HENRY
(from the bunk below)
Looks like we're both sleeping
alone tonight...
"Go to sleep, Dad." Indy mutters and drops his fedora
over his face, falling fast asleep.
INT. INDY AND HENRY'S COMPARTMENT -- NEAR MORNING
Hours later, the first light of dawn slipping through
the
small compartment window, Indy awakens -
- and finds the barrel of a mean-looking pistol
pointed
at his chin. AGENT NATALYA sits seductively astride
Indy's chest - the gun never wavering. She's here for
the disk and forces Indy to hand it over to her. She's
about to leave, when she stops and strokes his face
with the muzzle of the gun. She hungrily kisses Indy
goodbye -- the gun still at his chin.
Indy breaks free of the kiss, THROWING her to the
floor.
He goes for his gun, just in time to watch Natalya
slip out
the compartment's window. Henry finally awakens,
stumbling out of bed.
Indy DUCKS out the window -
- sees an armed Soviet soldier making his way along
the side of the train towards the compartment's window
-
- and DUCKS back in. Henry's got a "what the hell?"
look on his face as the door is KICKED IN.
Indy TACKLES his dad to the floor, another Soviet
lacing the room with gunfire. The Soviet at the window
appears and fires back - thinking it to be Indy.
The two Soviets kill each other.
They drop over, one on top of Indy and Henry - one
half-hanging from the window. Indy gets up, leaving a
confused Henry. He grabs his fedora and whip, SHOVING
the dead Soviet from the window and DISAPPEARS through
the opening.
ATOP THE ROOF OF THE TRAIN
Indy chases after Natalya across the top of the
speeding train.
But she's too far away by now for him to catch up to
her.
Natalya glances back at him and flashes a sick smile -
one
that turns into a scream of shock as Indy's whip
LASHES about her ankle.
Indy PULLS and she comes CRASHING DOWN on the train.
She drops
her gun and the satchel containing the disk FLIES out
of her hands! The satchel SKIDS to a stop, just before
it falls between two of the cars. She FLIPS over and
grabs the canvas satchel, giving Indy enough time to
land atop her and thrust her gun into her face.
INDY
(smirking)
I like it better when I'm on top.
He cocks the pistol.
INDY
Give me the disk!
She smiles again, but instead of handing it over, she
let's it drop over the side of the train! Indy lets go
of her to make a grab for the strap of the satchel and
she slips away. Indy's momentum causes his body to
swing over the lip of the speeding train, where he
sees --
SOVIET SOLDIERS riding alongside the train in sleek
motorcycles.
They have the satchel.
INSIDE THE TRAIN, a woman is getting dressed when she
sees --
INDY, hanging outside her widow - UPSIDE DOWN. She
screams, FLIPS the window closed and --
IT SMACKS INDY IN THE FACE --
-- throwing him back on top of the train. Dazed, he
coils his whip, and drops over the opposite side of
the train - SLIPPING in the opposite compartment's
window.
INSIDE THE COMPARTMENT, Indy DROPS DOWN.
The woman in the bunk screams - it's Abbey. This must
be her
compartment. Indy doesn't have time to explain. He
rushes past her, FLINGS open her door, to find --
HENRY, about to knock on Abbey's door.
Indy PUSHES PAST him through the hall, and ENTERS the
opposite compartment where --
The undressed WOMAN screams again. She slaps at Indy,
but he ignores her and disappears out her window.
The Soviets are on the bikes, following Natalya, who's
racing across the top of the train - far ahead.
Indy DIVES off the side of the train, LANDING ATOP the
LAST BIKE in the group. The bike SWERVES and SKIDS.
Indy FIGHTING to throw the driver off. With a grunt,
the driver ELBOWS Indy in the face!
Indy FALLS from the bike, towards the ground.
He GRABS the bike's exhaust pipe, HOOKING HIS ARMS
AROUND IT.
The driver GUNS the engine -- DRAGGING INDY along with
him.
NATALYA, atop the train, turns to see the bike's
driver trying to shake Indy loose by EDGING THE BIKE
CLOSER TO THE TRAIN!
The boards RIP AT INDY, as he's DRAGGED OVERTOP THE
TRACKS! He FIGHTS to hold on and keep his body from
swinging into the wheels of the train.
INSIDE THE TRAIN, Abbey and Henry follow the action
outside as they run through the dining compartment.
Through the window, they see Indy being dragged by the
bike.
OUTSIDE, Natalya FIRES at Indy -- and now he's dodging
bullets
as well. The driver KICKS at INDY'S HANDS, just before
one of Natalya's SHOTS STRIKES him in the chest. He
slumps over dead. The bike SWERVES -- now OUT OF
CONTROL.
Indy PULLS himself ONTO THE BIKE -- and SPEEDS towards
the Soviets in front of him. Natalya CURSES at him in
Russian.
The train is rapidly approaching a tunnel. It
disappears into the darkness. When it comes out the
other side, two of the Soviets on the BIKES TURN to
see --
Indy who is now speeding IN BETWEEN THEM as they
approach a second tunnel. He rips the SATCHEL from the
hands of the driver on his left and --
SMASHES the driver to his right with the weight of the
disk.
Dazed, the driver is too late to stop the bike and it
SLAMS into the facade of the approaching tunnel with a
fiery
EXPLOSION.
The bike on his left, closest to the train, tries to
RAM
Indy into the wall of the tunnel. Indy SHOVES back,
forcing
the bike against the flat side of the speeding train.
A HAIL of SPARKS illuminates the darkened tunnel.
Outside again, Indy swings the satchel at the bike on
his
left, but the driver eases up on the gas and the
satchel
MISSES. Indy swerves, the momentum of the throw
causing the satchel to drag along in the dust. Indy
pulls both it and
himself back atop the bike, just in time to see --
-- the butt of the Soviet's gun SMASH HIM IN THE FACE.
Indy rights the bike once more, and the Soviet tries
it again,
But Indy's ready. He grabs the gun and pulls the
trigger,
sending a HAIL of BULLETS into the driver's chest. The
bike
FLIPS OVER, bouncing off the side of the train.
Indy GUNS the bike and heads towards Natalya who fires
off another round at Indy and then slips between two
cars of the train - out of sight. Indy's bike speeds
up alongside the spot where she disappeared. He looks
between the cars to his left - she's gone.
Then, her HANDS shoot out to GRAB the satchel from the
top
of the train. Indy holds on, but she PULLS and his
bike SLAMS into the side of the speeding train. He
LOSES his GRIP on the satchel. In seconds, she's
running with the bag across the
top of the train, with Indy following on the bike.
Up ahead, the last remaining Soviet motorcycle touches
the brakes and eases up alongside Natalya. He waves
her on - motioning for her to jump on behind him --
Which she does, SHOVING HIM OFF THE BIKE. She pulls
ahead of Indy, in front of the train - just as it the
tracks narrow - keeping Indy from pulling in front of
it as well. He edges up alongside the front of the
train.
INSIDE THE TRAIN - AT THE CONTROLS --
We see the Engineer staring in shock at the motorcycle
in front of him - and then at the form of Indy on the
bike beside him.
In a hail of sparks, Indy SKIDS the bike across the
guard rail of the bridge, FLOORS IT, and PULLS IN
FRONT OF THE TRAIN!
The Engineer's eyes go wide again!
FOLLOWING THE CHASE OUTSIDE --
Looming up ahead, Natalya sees that the train tracks
splitting in two directions. The one to the left is
clearly marked:
"BRIDGE OUT". She smiles sadistically.
Unaware of the danger ahead, Indy pursues. Natalya
twists around in the bike, sending a hail of bullets
at Indy. Indy ducks and swerves, but the bullets
weren't meant for him.
The windshield of the train behind him shatters and
the
engineer is riddled with gunfire. He slumps over dead,
falling onto the controls. The train speeds up,
RAMMING the back of Indy's bike. Indy turns back, just
in time to see Natalya slap the switch and send the
out-of-control train down the wrong tracks.
Natalya holds the satchel up triumphantly and turns to
blow Indy a kiss before speeding away - out of sight.
The train is speeding along towards the wooden
barriers and
warning signs. Indy leaps from the bike onto the front
of the train, climbing through the shattered
windshield. Indy reaches for the brakes, pulling on
the lever and the train begins
slowing. He glances back at the bridge up ahead.
The bridge is unfinished, still under construction. A
deep chasm looms below it - the bottom of which is
hidden by the morning fog. The train's not gonnna
stop in time.
Indy PULLS harder, the shattered windshield CUTTING
into his arms.
INT. THE FRONT OF THE TRAIN
Henry and Abbey burst through the cabin doors,
stumbling --
AS THE TRAIN SCREECHES TO A HALT -- THROWING INDY INTO
THE AIR!
INT. THE FRONT OF THE TRAIN
Henry and Abbey get up, looking for Indy. They see
nothing.
all is silent, and then a bruised, bleeding hand SLAPS
DOWN
on the front of the TRAIN. Indy slowly PULLS HIMSELF
UP into the compartment.
ABBEY
The disk?
INDY
(wincing)
Don't ask.
EXT. TRAIN STATION, IRELAND -- MORNING
Later that day... The damaged train rests on the
tracks, its front SMASHED and BELCHING a steady stream
of smoke and sparks. The train's passengers deboard
and stare in wonder and confusion at the train.
The morning fog has thickened as Indy, Henry and Abbey
arrange some transportation - renting a beat-up old
jeep.
EXT. A FOG SHROUDED ROAD -- MORNING
The road grows steadily bumpier as they near the
coordinates. Finally, they're forced to get out of the
jeep and set off on foot as the terrain turns suddenly
MARSHY and then gives way to a full-blown swamp,
enshrouded by fog. With only lanterns to light their
way, they proceed until the murky water is nearly
waist high. Up ahead, in the dim light, they begin to
see shapes - stone markers - jutting up from the murky
depths. At the exact point of the coordinates, they
find a large stone --
The GRAVESTONE of RAGNAR.
The surface of the marker is carved with the
dismembered parts
of a snake. Indy runs his hand over the marker.
INDY
That's the Serpent of Midgard.
The Vikings believed that the snake
held the earth itself in its coils,
binding the universe together.
But this marker is some sort of puzzle - one that can
only
be solved when the parts of the snake are correctly
combined and the serpent is whole. A series of handles
control the rotating body parts. Indy turns one of the
handles the wrong way and...
Legions of DISGUSTING LEECHES cover his hand! The
slimy, black creatures cover Indy's arms and swim out
from the base of the marker in a thick wave, clinging
to Abbey and Henry's pants!
One by one, skeletal, rotting bodies bob up to the
surface
of the water from the graves below. Indy quickly turns
the
handle in the correct direction and the flow of
leeches stop.
At last, the puzzle finally solved, we see the
completed form of the serpent, twisting and turning.
Around the snake's body are a chain of ridges and
bumps.
They almost look like mountains...
MATCH DISSOLVE TO:
A TWISTING, WINDING RIVER --
-- in the same shape as the snake - only this time
we're looking at a map of Russia. The snake depicted
on the swamp's tombstone appears to be a map! - one
that records the path sailed by Ragnar's men to
Valhalla itself.
That afternoon, Indy, his father and Abbey are
standing in the midst of an airstrip, waiting. As they
look at the map, Indy pinpoints the site of Valhalla -
at the peak of a dangerous mountain chain in Northern
Siberia. The mountains marked on
the map match perfectly to the bumpy ridges on the
surface
of the swamp's tombstone. They all turn at the sound
of a -
BIG, WWII-ERA FIGHTER PLANE, TOUCHING DOWN
A great big bear of a man - an American pilot named
HAWKINS strides out onto the runway. He grabs Indy
warmly and socks him in the arm.
HAWKINS
(shouting)
JONES! You old sonuvabitch!
How ya doin!?
Apparently, he and Indy go way back and Indy's about
to cash
in on an old favor. Now that they've pinpointed the
location of Valhalla, they realize that Rostov will be
taking the fastest way - by ship. But they'll never
catch up to him if they follow by sea. Of course, Indy
has an idea... a dangerous one as it turns out.
The area marked on the map is known for it's fierce
winds -
which are so severe that no aircraft has been able to
approach
the area safely. Indy wants to parachute down to a
small
mountain beside it , taking his chances with the winds
and
then climbing up the rest of the way to the larger
mountain.
Hawkins thinks he's nuts - reminding Indy that their
sneaking
into Russian air space could end up starting another
war...
but with a devil-may-care smile, he agrees anyway.
EXT. PLANE IN MID-FLIGHT, HOURS LATER
The sun is slipping slow as the plane cuts through the
clouds.
INT. ONBOARD THE PLANE
Hawkins and his men help Indy and Abbey suit up into
their parachute gear, with Indy refusing to take off
his hat!
Abbey's a bit nervous. The winds are becoming really
intense now, tossing the plane about as if it were a
rag doll. One
of the officers is preparing them for the jump,
telling them
when to pull their ripcord, etc.
Hawkins gives Indy a radio transmitter and tells him
that the plane has about three hours of fuel left.
Assuming the survive the jump, they'll need to signal
before then if they're going to make it off that
mountain alive.
As they're coming up on the jump point, Abbey's
starting to have seconds thoughts about the jump when
Indy suddenly shoves her from the plane.
EXT. THE ARCTIC SEA -- NIGHT
The bow of a Russian ship cuts through the icy waters.
At
the ship's stern we see Colonel Rostov and agents
Natalya and Urich - the big man guards Kindersley with
a gun.
In the sky above, Rostov's eyes go wide as he sees an
American plane valiantly fighting the deadly winds. A
parachute opens -
followed by a second - and the two drop crazily
towards the
mountains looming before them in the distance. Rostov,
his
face rigid, orders Natalya to radio the fighters.
EXT. THE SKY ABOVE
The winds are terrible. They lash at Indy and Abbey as
they fall, separating the two from one another.
EXT. THE SMALLER MOUNTAIN
Indy lands first, the force of the winds carrying
Abbey (her chute still attached to her) towards the
side of a cliff.
Indy saves her, digging his climbing spike into the
ice and
cutting her free of the chute. The the two then
proceed to climb up an ice gorge that connects the two
mountains.
EXT. AN ICY SHORE
Rostov's ship slips through eerily still waters and
comes to
rest on a shore lined with the skeletal remains of
wrecked, ancient ships.
Rostov's group sets off up a series of stone steps cut
into
the rock and ice. Urich still guards Kindersley as the
group ascends the the spiraling steps. The steps come
to an end near the crest of a cliff and the fog
surrounding them begins to clear. Before them they see
a bridge, hollowed out from the ice, that spans a deep
ice gorge. Kindersley recognizes it as the Bifrost
Bridge - the bridge that connects the world of the
mortals to Asgard, the world of the gods. Rostov tells
everyone to keep moving.
EXT. THE ICE GORGE BELOW -- THAT SAME MINUTE
Indy and Abbey, still climbing, look up to see Rostov
and
company moving across the bridge. They're too late!
WALKING ACROSS THE BRIDGE
Kindersley, carrying one of the two disks, slips and
falls as Urich shoves him forward across the bridge.
The bronze disk slips from his hands and skids across
the slick bridge, only
to fall with a whisper into the gorge below.
Indy and Abbey cling to the wall - trying to hide
themselves
from sight.
Urich backhands the old man, but Rostov tells him the
disk
is no longer important and they continue on.
IN THE GORGE BELOW
Indy begins climbing back up, but Abbey decides to go
back
down for the disk. She just barely snags it. They
continue
the climb, scrambling up the sheer rock wall to follow
after Rostov.
EXT. AN ICY PLATEAU
Natalya is the first to see it as she climbs to the
top and looks out. It is carved from the ice itself
and stands well over fifty feet high: Valhalla - the
Hall of the Dead. Flanked by two giant figures that
stand silent guard before a massive, petrified wooden
door, Valhalla awaits them. A sinister gleam twinkles
in Rostov's eyes.
EXT. THE DOORS OF VALHALLA
Rostov forces Kindersley to translate the inscription
on the doors - a warning for all mortal men not to
enter these walls unless the time of Ragnarok has
come.
Rostov ignores the warning and attempts to open the
doors -
but he finds them locked and unmoving. Clearing away
the snow, Agent Natalya finds two slots cut into the
doors - circular slots that appear to be the same size
as the disks. She tries fitting their remaining iron
disk into the slot and it fits.
A perfect match. But they no longer have the second
disk...
INDY
(shouting)
Looking for this?!
He holds the disk aloft. Rostov and company spin at
the sound
of his voice--
-- to see Indy and Abbey pointing their guns at the
group.
The Soviet soldiers react instantly, bringing up their
guns
as well.
Stalemate.
Indy finally comes face to face with Rostov.
INDY
We go in together --
(beat)
-- or we don't go in at all.
Reluctantly, the two strike an uneasy truce. Indy and
Urich turn the disks - using its slots as handholds -
in opposite directions and the doors crank open
slowly. A gust of centuries old air blasts them in the
face. There's something in that air -- something that
no longer lives.
At Rostov's slight nod, Natalya retrieves the iron
disk.
INT. VALHALLA
Utter darkness.
A hand-held torch comes to life. By it's amber light
the
group finds unlit torches along the walls. The room
then
glows with a cold, unearthly light. The room is
incredible,
the ceiling lined with silver shields. Before them
stands
the rotted, petrified remains of a Viking long ship -
the
size of a modern oceanliner. It's tattered sail flaps
gently
in the new breeze - the only sound in the otherwise
silence.
They proceed into the cavern, uneasily.
FOLLOWING THE GROUP
They pass through the main chamber, the group looks up
at the
Viking ship. On the rotted deck they see the frozen,
skeletal
crew sitting lifelessly at the oars. At the end of the
chamber,
the path narrows into countless different passageways
leading
down into the mountain.
Indy suggests that they split up. Rostov is reluctant,
but agrees. Abbey, Natalya and Kindersley disappear
down one of the
tunnels, leaving Colonel Rostov, Indy and Urich to
another. Each group is accompanied by a handful of
Soviet soldiers.
EXT. THE SKIES ABOVE
Hawkin's plane is still being battered by the winds,
as it
continues to circle the mountaintop in wide arcs.
Inside the cabin, Henry asks how long they have left.
Hawkins tells him their fuel is getting low. If they
don't hear from Indy soon, they'll have no choice but
to turn back.
Just then, one of his men bursts into the cabin -
they're picking something up on radar - it's hard to
read from the winds, but it looks like they've got
Russian fighters approaching.
The few men onboard spring into action. Hawkins has
one
of his men take Henry back to man the belly gun -
where he
gets some last minute advice, by radio from Hawkins,
mere
seconds before the first Russian plane comes into
view,
breaking free of the clouds. Outgunned, Hawkins turns
the
plane into the winds, just avoiding a hail of bullets
from
a second Russian fighter.
Henry in the belly gun, fires away as the battle in
the skies above begins...
INT. THE TUNNELS IN THE MOUNTAIN BELOW
At regular intervals in the tunnel, torches in sconces
on the walls spring to life with an eerie, blue flame
that lights their way. The walls are roughly carved
from the ice. Abbey's group continues through the
passage, as it winds down into
the mountain, narrowing. Natalya subtly nods to one of
the Soviet soldiers, who grabs Kindersley, from
behind, holding a hand over his mouth to silence him.
Abbey doesn't notice. Nor does she notice as another
soldier slithers up behind her.
INT. INSIDE INDY'S TUNNEL
In the other passage, Indy's group finds the walls
lined with inscriptions. As they proceed, Indy
translates the writings carved on the ice walls. They
speak of the age of Ragnarok - when the dead will rise
from the sleep of death and the final battle between
good and evil will begin. An evil smile twitches at
the corners of Rostov's mouth.
The tunnel narrows again and then opens into an
antechamber -
split by a deep fizzure in the ice. Torches in the
room spring
to life.
Indy HURLS his whip at an ice statue, where it COILS
ITSELF around the statue's neck. He YANKS HARD and the
statue TOPPLES
OVER. One by one, they make their way across the
chasm to the other side.
There, the oddly-shaped chamber is filled with stone
caskets. In the back of the room - against the far
wall rests a casket - unlike the others. It's large
flat lid is carved with a unique mark: a circle
pierced by a sword that is surrounded by knights.
INDY
(excitedly)
That's the Mark of the Round Table...
His eyes are alight.
INT. ABBEY'S TUNNEL
The tunnel grows steadily darker until it opens into a
vast, blackened chamber. The Soviet soldier behind her
suddenly
slips his arms over her. She fights with him, to no
avail.
INT. INNER ANTECHAMBEr - ARTHUR'S TOMB
Excitedly, Indy works to slide the lid off of the
casket, not noticing Rostov and the soldiers behind
him. Rostov motions to his men. They arm their
weapons. Still not noticing, Indy PRIES the lid off...
INSIDE THE CASKET
An aged SKELETON lies within, it's bones resting in
rusted, primitive armor. The crumbling shield is
engraved with the same mark as the casket, a long,
pristine sword still clenched in its bony hands.
INDY
(in awe)
Excalibur...
His hands reach out towards the perfect blade. The
sword
dazzles at his touch -- an energy crackling around it.
Rostov's men make their move. Indy spins from the
casket, the
sword slipping back into Arthur's hands, as he hears
the sound
of weapons being armed and leveled at him. Rostov
smiles, back
in charge now.
Indy is confused when Rostov pays no attention to the
sword or
to Arthur's body. He seems intent on the far wall
behind Indy.
As Indy is taken captive once again, Rostov laughs,
saying that
the sword of Arthur means nothing to him. Indy's had
it all
wrong! He wasn't after Excalibur at all.
Rostov's men move towards the wall. At his orders,
they fire
point blank at the ice. It crumbles in a hail of
bullets.
Arthur's casket tumbles over with the chunks of ice.
The
sword Excalibur slips from his hands. The blue-white
light spills out into the room on the other side...
INT. THE LIGHTED CHAMBER
As Rostov and company step through the opening...
The room is circular and vast - lined with towering
statues
of the Viking gods that have been carved from the ice
walls.
In the center of the room, a thin pedestal stands in a
shaft
of the blue-white light from above. The floor is
criss-crossed with a pattern of gaping holes, making
each step a dangerous one. Natalya steps from the
shadows, into the light. Behind
her we see Urich, holding Abbey at his feet.
Rostov reveals his true intentions. The first disk -
the one
found in Siberia - was marked with an ancient
incantation that
was said to bring about the age of Ragnarok.
To Indy's horror, we learn that Rostov is intent on
raising an immortal army of the dead!
INDY
(smirking)
So that's all you are -
(beat)
Stalin's little whipping boy.
Rostov backhands him, causing a stream of blood to
flow down Indy's chin.
COL. ROSTOV
Stalin is a buffoon.
(beat)
He's more interested in butchering his
own people - than fighting for them.
Natalya fits the iron disk into a slot on the floor in
the
center of the room. "With the power of an immortal
army - one
that can never die, " Rostov continues, "Russia will
once again rise to its former glory."
Rostov forces Kindersley to begin the incantation. The
harsh
words of the ancient rite fill the empty chamber. As
the words
are said, the torches along the wall change in hue
from a cold
blue to a blazing, fiery orange.
Rostov laughs softly. Indy and Abbey glare at him.
EXT. THE FOG-SHROUDED SKIES ABOVE
The air battle rages on - Henry still firing away. One
of the fighters goes down - after raking a stream of
bullets across Hawkin's plane. With one fighter still
on his tail, Hawkins wrenches the plane into a dive,
taking it down dangerously close to the mountain.
Visibility is near zero - but he hopes to lose the
fighter in the fog.
INT. THE CHAMBER BELOW
The room is filled with a sudden torrent of winds.
They circle around the figures of Rostov, Kindersley
and Natalya. The winds seem to be spiraling out from
the disk itself. The Soviet
officers are caught between awe and fear as they
watch. Indy takes advantage of the distractions and
manages to free himself and Abbey. Urich, noticing,
moves to stop them.
Kindersley's words die off - the rite almost complete.
The winds have reached a thundering crescendo. Indy
yells over
the howl of the winds, telling Abbey to get to
Kindersley
and the disk.
As she makes her way to the altar, the massive bulk of
Urich
dives at Indy, knocking him to the ground. They tumble
across
the floor, each trying to force the other into one of
the
gaping holes.
Natalya spots Abbey and leaves the altar to intercept
her before she can interfere with the ritual.
Kindersley finishes, softly. The rite is complete.
KINDERSLEY
(weakly)
God forgive us...
CLOSE ON THE HOLES IN THE CHAMBER FLOOR
The wind dies down suddenly and a dead silence fills
the
chamber. A wispy GREY MIST slowly crawls from the
holes that
criss-cross the chamber floor.
The mist SLITHERS, snake-like, across the floor until
it
covers everyone up to their knees.
Slowly, a series of AMBIGUOUS SHAPES begins to take
form in
the billowing mist. As the mist rises, higher and
higher -
the writhing forms become more visible.
There are HUNDREDS of them.
In the seconds that follow, one by one, we recognize
them
to be armed, ancient WARRIORS. A literal army rising
up from the mist. The grasp rusty swords and
centuries-old axes in their bony grips. Some carry
rotted, wooden shields. They are utterly silent.
Their hollow, dead eyes show nothing.
A low, barely audible murmur - like the sound of
hundreds of whispering voices - echoes each of their
slow movements.
The slithering, ghostly warriors rise up around the
struggling pair of Indy and Urich.
Rostov eyes are alight with madness.
Indy and Urich climb to their feet - their struggle
forgotten
as the souls cling to them, weapons drawn. Indy backs
away and they slither upon Urich. Their sickly hands
and rusted weapons claw at him. The big Soviet tears
at the souls - his fists passing through their ghostly
forms as if they weren't real!
But then one of them slices at him and the ancient
sword
cuts deep into the Soviet's arm! Urich is dragged to
the floor, screaming.
Some of them move now on Indy, who's scrambled back
against
the rubbled opening into Arthur's crypt.
CLOSER TO THE ALTAR
Urich pulls himself up above the swarm and, with his
machine gun, sends a hail of bullets into the ghostly
army. The round of fire passes through harmlessly and
the skeletal army gives no notice.
Abbey ducks out of the way of the bullets, and finds
herself tangled in the swarm of ghosts. She slips,
falling into one
of the slots cut into the floor.
"Abbey!" Indy shouts, attempting to run towards her,
but is stopped by the souls.
One of whom raises a double-ended Viking battle axe
above his head.
Abbey's hands have caught the lip of the floor and she
struggles to pull herself up.
Indy, backing away from the approaching ghost, reaches
for a weapon to use in defense --
-- his searching hands find the sword Excalibur!
Just in time, he blocks the blow and slices through
the
skeletal warrior. The ghostly creature dissolves into
dust at the sword's touch!
CLOSER TO THE ALTAR
The souls are now upon the Soviet officers, cutting
them to pieces. Natalya and some of the others try to
turn and run - some dive into the holes. Urich,
wounded and weakened, scurries back towards Rostov.
The Soviet colonel glares at him coldly, and SHOVES
him from his sight back into the swarm of ghastly
souls! He screams
in agony and disappears in the slithering mass.
EXT. THE FOG SURROUNDING THE MOUNTAINTOP
Hawkins is flying blind.
In the belly gun, Henry watches as the remaining
Russian
fighter suddenly breaks through the fog, barreling
right towards them.
At the last second, Hawkins pulls the craft up and the
two
almost miss one another! But the Russian craft scrapes
against the underside of Hawkin's plane - and takes
out one of the
DC-3's primary engines. Hawkin's plane dips and
swerves -
out of control. The Russian craft, now a flaming
fireball,
is headed straight into the side of the mountain. It
slams into the facade of Valhalla --
-- with a TREMENDOUS, FIERY EXPLOSION!
Hawkin's plane disappears in the flames of the
explosion.
EXT. THE DOORS OF VALHALLA
The statues that flank Valhalla's massive doors
suddenly
begin to break up and fall in jagged, uneven pieces to
the
ground below.
INT. THE CHAMBER BELOW
Rubble begins to fall from the ceiling as chunks of
ice crash onto the floor. Indy is slowly carving a
path through the
swarm with Excalibur -- towards Abbey and Kindersley.
He reaches the doctor first. Indy gives him the radio
transmitter and tells him to get back up to the
surface. Kindersley quickly tells Indy that the disk
is the key. The reverse side contains a secondary
incantation -- one that
Rostov is unaware of -- that will send the army back
to
their graves. Kindersley scrambles away, back into the
tunnels.
THE ALTAR ABOVE
Rostov is speaking now in ancient Norse - his words
are
strange and sinister. Indy finally reaches Abbey - who
has
pulled herself up and reminds him about the disk. Indy
quickly pries it from the floor and flips it over in
his hands.
As the room continues to tear itself apart from the
explosion
above, Abbey begins reading in ancient Norse from the
back of the disk. At his words, Colonel Rostov finally
turns his
attention to them. He speaks in the same ancient
tongue, his voice growing louder than Indy's.
The souls suddenly turn as a whole, as if ordered by
Rostov
to attack Indy and Abbey.
In seconds, the pair is surrounded on all sides by the
swarm!
Indy stands, SWINGING the sword Excalibur in a wide
arc before him. A souls slips through the defensive
swings, but Indy CUTS it down and it dissolves to
dust.
Abbey's words continue, and more souls slip through
Indy's
weak defense. He's now SWINGING the sword MADLY before
him.
The sword keeps the souls at bay, but with each swing,
his
arm tires.
Rostov laughs at him and begins to move away from the
altar towards them.
EXT. THE ICY LANDSCAPE
Hawkin's fights to keep the plane from crashing. Henry
scrambles out of the belly gun -- and not a moment too
soon.
The plane lands and skids to a halt -- it's landing
gear is ripped to shreds.
Henry, Hawkins and his men, all make it out alive -
but their
only way out of this frozen hell is now dead and
useless.
They set off walking on foot - in the direction of
Valhalla.
INT. THE CHAMBER BELOW
Indy can BARELY pick up the sword now.
The swarm of ghostly souls CLOSES IN on Abbey...
Rostov grabs Indy by the throat and SQUEEZES. Indy
FALLS to
his knees, the sword FALLING TO THE GROUND as his face
turns red. His hands try desperately to pull Rostov's
away.
Abbey finishes and the swarm stops just short of
killing her.
Rostov's eyes go wide as he notices this - and his
grip on
Indy slackens.
Quickly, Indy SQUIRMS free and HAMMERS Rostov with a
sharp
blow to the the chin. The army of ghosts moves in on
the pair as a brief struggle between the two ensues.
When the souls
finally close in, they seem uninterested in Indy.
Rostov CLAWS at them, shouting in vain in Norse.
But they DRAG him down with a bloodcurdling scream
into the central trench in the chamber.
Indy, with Rostov's scream still echoing through the
chamber,
helps Abbey to her feet. Together, the two make their
way
back to the tunnels - as the ceiling continues to fall
about
their feet.
EXT. THE RUINED ENTRANCE TO VALHALLA
Kindersley has made it to the surface. As he climbs
over
the wreckage barring the front door, he spots a group
of
men walking towards him. At first, he believes they
are more Soviets, but then Henry calls to him and the
two old friends
are reunited.
But when Henry learns that Indy is still inside,
Hawkins
and Kindersley have to hold him back from charging
into the crumbling room after him.
INT. THE MAIN CHAMBER
The Viking ship still stands, only now the ice about
it is cracking into large chunks - revealing the
frozen river beneath. The massive boat begins to
splinter into pieces
in the icy waters...
The room is in total chaos.
Indy and Abbey are climbing out of the tunnels when a
bloody hand shoots out of the darkness and SNAGS
Indy's ankle.
It's Rostov!
He's bruised and bleeding, but still alive. He's
picked up Urich's gun and now leaps madly at the
fallen Indy.
INDY
(shouting, to Abbey)
GO! Get out of here!
She hesitates, as the struggling Indy and Rostov are
thrown by
the slabs of ice at it breaks up at their feet. Rostov
slips, stumbling backwards. Indy is atop him, lifting
him by his shirt
and then CLOCKS him. Abbey turns and climbs out of the
opening.
Rostov, crazed, DIGS his NAILS into Indy's neck. He
BACKHANDS him, sending Indy SKIDDING DOWN THE CHUNKS
OF ICE --
-- to land with a SPLASH in the ICY WATERS.
OUTSIDE VALHALLA --
Henry and Abbey watch as the front of the building
finally collapses entirely, sealing it shut once more.
ABBEY
(screaming)
NOOOO!
INSIDE THE RUINS OF VALHALLA
ROSTOV grabs the gun and moves to FINISH INDY OFF.
But the ice at his feet breaks up and he FALLS into
the water.
INDY strains to reach the SLIDING gun before ROSTOV
does. The Soviet ELBOWS him in the face and tries to
climb back onto the ice.
His movements cause the sword Excalibur to SLIDE
TOWARDS INDY.
INDY GRABS it -- as ROSTOV SNAGS THE GUN --
Indy spins around and STABS the Soviet in the chest
with
EXCALIBUR!
Rostov stumbles backwards against the ice. His hand
reaches to the sword in his chest and he PULLS it from
him --
Indy CLIMBS out of the water -- dodging the chunks of
ice still CRASHING DOWN from the ceiling. The Viking
longboat is in pieces, it's skeletal crew now floating
in the icy waters below where --
ROSTOV'S hand TOUCHES the hilt of EXCALIBUR --
-- and a cold, blue-white FLAME SPREADS from its base.
At first, he doesn't notice, and lunges madly towards
the
fleeing Indy --
-- but then, the eerie flames envelop both the Soviet
and
the holy sword. Rostov's mouth is open in agony -- but
now,
NO SCREAM IS HEARD. His fingers lock down on the
trigger of
the gun, FIRING madly in pain! His mad fire sends a
hail of bullets towards Indy - who's nearing the
rubbled entrance.
The ice sprays up as the bullets impact - one of them
STRIKING INDY!
Rostov's burning body finally TUMBLES OVER into the
wreckage
of the Viking ship, setting it AFLAME as well.
EXT. THE RUINS OF VALHALLA -- MINUTES LATER
Tears stream down Abbey's face. Henry squeezes her
hand --
keeping his face calm.
One of Hawkins men, breaks the uneasy silence. He
informs him that they're picking up some form of
aircraft, a few miles
to the south.
"Probably Russians," Hawkins says quietly, guessing
that they've finally discovered their uninvited
guests.
Hawkins tells Henry and Abbey that they need to start
moving.
Henry nods grimly. Abbey won't budge.
Hawkins, turns away, then --
-- THEY HEAR THE SOUND OF THE ICE, MOVING.
A big chunk of ice falls to the rubbled ground. Indy
SHOVES
his way through, stumbling to his feet.
Henry smiles widely, "Junior!" Abbey rushes over to
him,
throwing her arms around him, causing Indy to stumble
--
And we see that ROSTOV'S mad fire found it's mark:
He's been shot in the leg. His pants are covered in a
thick stain of blood. Abbey's about to say something,
when --
-- the sudden, harsh-sounding whine of an approaching
aircraft drowns her words out. A white searchlight
breaks through the fog and flickers across the forms
of Indy and Abbey.
Hawkins shouts to his men and they bring up their
guns. The aircraft above -- hidden by the fog veers
away and lands.
"Sounds like they're coming this way" Hawkins grunts
and
throws Indy a gun. Hawkins men drop down into the
snow,
making their stand.
With a grunt of pain, Indy drops down as well, his gun
ready.
A SERIES OF SILHOUETTES IN THE FOG
Walking towards Indy and company, the men coming
towards them are obviously armed.
They break through the fog, and they appear to be
dressed in
black - with no identifying marks on them. They are
silent.
This looks like the end for our heroes -
But then, the unknown men part, and a large, somewhat
bulky
man steps though--
It's General Musgrove! "Thought you might need a
lift," he shouts over the winds.
Hawkins orders his men to stand down. Indy sighs, and
drops
his gun. "Never thought I'd be happy to see you," he
mutters.
Abbey helps him back up, but then he stumbles again,
finally
giving in to the pain. Hawkins and Henry help him limp
towards Musgrove's awaiting aircraft. Abbey follows.
At the hatch, Indy stops. He pulls Abbey towards him
and
kisses her.
EXT. THE SKIES ABOVE SIBERIA
Hawkins plane flies off into the coming dawn, towards
home.
FADE OUT.
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