Greg Hildebrandt's Indy IV - Part 3 of 3
by Greg Hildebrandt, Jr.
1 - 2 - 3
EXT. PLANE ON GROUND - DAY
SALLAH stumbles from the rear door.
INDY and CARY stumble out behind him, rubbing their heads.
INDY Sallah, I didn't know you could fly? SALLAH Neither did I?
HENRY (O.S.) Junior?! Junior, is that you?!
INDY looks at the stopped sedan through the clearing dust. INDY Dad? Dad? Who is that?
HENRY Who is that? It's me! I came as soon as Marga called. She thought you might need my help. Hm, and I see you are still playing around instead of doing the work at hand.
INDY tilts the rim of his FEDORA back and shakes his head.
INDY Dad! We just...Anyway, I thought you were supposed to stay in bed?
HENRY Oh, nonsense. My God, boy! What did you do with that plane?! All my work...
INDY reaches back to SALLAH and grabs the scrolls.
INDY The sword of El Cid, will have to wait. Here.
He hands his dad the scrolls. HENRY briefly looks them over, mumbling to himself.
His mouth slowly hangs open as he looks up.
HENRY You've found the staff of Moses...?
INT. PRIVATE BACK ROOM - GABBY'S BAR - NIGHT
INDY, HENRY, CARY and SALLAH, sit around the table.
The scroll is laid out before HENRY, along with several other large, tattered text books.
He takes off his glasses, rubs his eyes and puts his glasses back on. INDY What do you make of it, dad?
HENRY Well, this is incredible. The beginning, here, talks about the great powers that were handed down to Moses, and the strength of which his staff was to possess.
CARY So, it is true about his staff.
HENRY Well, there's more. Here, look. It goes on to talk of when Moses was taken by Jehovah, into the kingdom of heaven, a void would be left in his spiritual space. Fascinating.
INDY But Moses released his powers to Joshua?
HENRY Correct. But not his staff. It was this void of Moses that Jehovah needed to seal, or an evil force would arise from below the surface.
INDY How about a location? Does it say where the staff could be or who might have it now?
HENRY This scroll only talks of the ancient tale of the two brothers of fire, Hasan and Erciyes Dagi, and how their anger created the chamber of worship. It is here that the staff was said to of later been placed, separating the brothers and silencing their anger.
CARY Hasan and Erciyes, I've heard those names before?
HENRY But this scroll also gives a warning not to remove the staff from its chamber of rest. It talks of the two other keys that are needed to open the chamber.
SALLAH Keys? You mean like keys to a door?
HENRY In a sense. When the chamber was locked, there were twelve possible positions for the stone of Joshua to be placed. The correct position would seal the chamber, and, on the other hand, the correct position would also open the chamber.
CARY I can't remember my studies including any stones of Joshua, let alone this chamber with the so called staff.
INDY Well, the stone of Joshua, as far as I know, it was this blue stone that... HENRY interrupts. HENRY It was a blue stone that was said to of been created by the hand of God himself. It disappeared for hundreds of years, until it surfaced in the possession of a Thomas de Torquemada. It was known as the stone of the holy man.
CARY Torquemada. Now that would all make sense. These towns people believe the Black Angel to be somehow related to this nut case. I mean, with those soldiers of darkness.
HENRY By God! Your right! Look here.
HENRY takes one of the old, tattered books and opens it fully. He pushes it into the center of the table.
This is what they see:
On the left page, a black and white drawing of a "glowing" ring is before Moses and he holds his staff behind himself. Winged "angels" float above the staff while "evil" looking creatures rise up from under the staff.
On the right page is an illustration of a partial stone tablet with Hebrew writing.
INDY points to the ring.
INDY That's the ring the lady had on! HENRY Are you sure? INDY studies the illustration with the ring. INDY Positive.
HENRY Then she already has one piece to the puzzle. But she still needs this.
HENRY points to the opposite page illustration of the half stone tablet.
HENRY (cont'd) The words of Jehovah. Without the full tablet, he who touches the staff that is opposed to the will of Jehovah, will be consumed with uncontrollable demons from the bowels of the earth. SALLAH The bowels of the earth?
HENRY It is only in the words of Jehovah on the full tablet that one is told the correct position of the twelve settings to place the stone of Joshua. As it says here in the scroll, use not the wrong setting nor the wrong stone, for thou shall be cast to stone.
INDY It sounds like that without the full tablet to read, you can't release the staff of Moses.
HENRY It would be impossible, unless you had the stone. Then of course, you could certainly try.
SALLAH If you had twelve volunteers.
CARY That's where I heard it before! Hasan and Erciyes. They're not brothers, they're volcanos! Volcanos in central Turkey. It's said that a monastery was created within the dried lava flows, carved right into the mountains. INDY shakes his head. INDY She has this half of the stone tablet. I saw it with this scroll.
HENRY Well, how come you didn't take it, boy?! INDY looks at CARY. INDY I had a plane to catch, dad.
SALLAH My God! I have seen the second half of this stone.
INDY What?! Where?
SALLAH In Cairo. Before I came here, I was hired to work on a dig in Egypt, right near Giza. A passage was found under the Great Sphinx.
CARY There was a passage underneath the Sphinx?! SALLAH Yes. INDY and CARY exchange a glance. SALLAH (cont'd) I did not go into the passage myself, those who did died on exiting with no explanation. The only thing they took out was half of a stone tablet, one that would match up to that one.
HENRY How can you be certain it was the other half?
SALLAH Many good men died to get that stone. It is the second half we seek.
SALLAH My friends. This staff was not to be removed. Its powers are that of the lord and they should be left with the lord. There is a purpose for everything in this world.
CARY Well, we know that, but this lady seems to be planning to do something with it. And if she's read this scroll, I'll bet she'll be looking for the second half of the tablet. (beat) Let's just say, if the staff was to be removed, how would it be put back? HENRY reads further down the scroll. HENRY It is only by the hands of woman and the strength of man, can the staff of Moses stand alone, leaving only one door.
CARY Leaving only one door? One door for what?
HENRY reads on further quietly to himself and stops.
HENRY Only one door to return to the homeland. Two go in... INDY But only one comes out.
HENRY Oh dear...
CARY I'm missing something here? What do you mean, the strength of man and the hands of woman?
HENRY Well, I would have to say that a man and a woman would have to enter the staff chamber together. Their powers together as male and female alone can place the staff back in its original holding.
INDY But why would only one be able to come out?
HENRY There is no direction booklet with this, Junior! These are the words of God. It's a choice of two people that relies on their faith between each other. Their faith to God. Their faith to the many other lives they have touched. There is no one answer. (beat) If it was a choice between you and Marga, who would you choose? DISSOLVE TO: EXT. THE PRIVATE AIRLINER - FLYING - NIGHT
SUPERIMPOSED over a MAP that traces a course from GRANADA, SPAIN to CAIRO, EGYPT. DISSOLVE TO:
EXT. DESERT DUNES - NIGHT
INDY, HENRY, CARY and SALLAH, ride by moonlight on camels across the golden Egyptian sands.
SALLAH Not far now Indy, just over that hill.
INDY And your sure they'll still have the stone tablet there?
SALLAH Although death has since plagued the dig, the man in charge will not leave. It is not a curse, but greed that will bring him to his death. INDY Who's in charge of this dig?
SALLAH It is an Italian, whose name is Nicholas Varanelli. He is a man after nothing but money and fame, a self-made millionaire who started out in the cosmetic business.
CARY You mean Varanelli, the lipstick king?
SALLAH I speak of the same man.
INDY So, this Varanelli, doesn't even know the story behind the stone tablet? SALLAH laughs aloud. SALLAH As far as he cares Indy, it will pay for his next vacation in France.
HENRY (V.O.) Is it much further?
INDY merely waves a hand up, quieting HENRY as he continues to talk to SALLAH.
HENRY is bouncing awkwardly on the camel. HENRY (cont'd) Indiana...!
INDY, HENRY, CARY and SALLAH come to a stop at the base of a small sand dune.
INDY and SALLAH move up the hill on foot. At the top, they fall to their stomachs and can now see...
The Great Sphinx.
The massive structure is bathed in the cool light of the full moon. The warm glow from campfires illuminates the giant head of the sphinx from below. The two Great Pyramids can barely be seen, rising in the shadows.
Scattered about the foreground of the Great Sphinx is a full archeological campsite of tents, wooden supply crates, camels, jeeps and trucks.
One tent stands out from the rest because of its larger size and position directly at the base of the Great Sphinx. This is the main tent from which the faint sound of opera music is slowly drifting out across the dry desert air.
A HALF-TRACK truck is parked alongside the main tent.
CARY crawls up along side SALLAH. CARY The Great Sphinx...
INDY There it is, kid. One of the wonders of the world. So many secrets surround that one monument.
SALLAH And so does death.
CARY Only if we had more time! HENRY crawls up along side INDY. HENRY My God, boy! What we see before us is one of the soul reasons why archeology exists!
INDY nods his head. Suddenly, something comes to mind and he slowly looks over to his dad.
INDY Dad, who's watching the camels?
HENRY gestures over his shoulder, down the hill. HENRY Oh, Cary is still down there. INDY and SALLAH swivel their heads toward CARY. INDY (upset) Dad, Cary is right here! ALL turn about to see...
All FIVE camels running off into the night.
BACK TO SALLAH SALLAH My camels! Cary! CARY What?! HENRY Well, now that's just great, Cary! We'll never make it on foot quick enough to stop this Black Angel. The staff of Moses is as good as hers!
INDY Don't worry dad, I've got an idea.
HENRY Need I remind you that the last time you had an idea, we almost got killed.
SALLAH Cary, my camels!
CARY Sallah, I'm getting mad now!
INDY Sallah, don't worry about the camels, I'll get you more.
SALLAH swipes off his hat and slaps CARY over the head. SALLAH Lose my camels!
SALLAH points to the large MAIN TENT. SALLAH There, Indy. That tent is Varanelli's.
INDY He'll have the stone tablet there?
SALLAH He has everything there. He had his whole dinning room flown in from Italy. Tables, chairs, dishes...
CARY Sounds like this guy doesn't spare any expense.
SALLAH He likes to show off his wealth. He keeps the stone tablet on the dining table.
INDY On the table?!
SALLAH He eats, talks of his treasures he has found, where he might sell them. That stone is his prize.
CARY This guy isn't an archeologist, he's a thief.
HENRY So, how do you suppose we are going to get this stone, junior, just walk in there and take it? Hm?
INDY Well, I ain't buying it, that's for damn sure.
SALLAH Indy. It is wise that nobody sees me there. I left on not so good terms.
INDY studies the campsite and rubs his chin.
INDY Don't worry. Cary, you get to that half-track over there.
CARY Then what?
INDY Then you just wait for me and dad.
HENRY What do you mean, me and dad?
INDY Sallah, you create...
HENRY Junior, if you think I'm going...
INDY Dad! Trust me, will you! Sallah, you create a diversion if we're not out of that tent quickly enough.
HENRY And what is it we are doing, or shouldn't I ask?
INDY I don't know, but I'll think of something. SWIPE TO: INT. VARANELLI'S TENT - NIGHT
A full Italian dinner is in progress. Rugs, fine china, several paintings and even half of a living room has been established within the tent.
A record player turns an old opera album, removing the sense of the surrounding desert.
NICHOLAS VARANELLI, along with NINE other men, sit around a long rectangular table on the left side of the tent.
The dinner table is covered in a fine white lace tablecloth, polished silverware and extraordinary china.
Large bowls of pasta, breads, salads, french desserts and several other exquisite dishes fill the table. They're all surrounding the STONE TABLET.
Oversized, antique French chairs surround the long table, in which sit the "oversized" and "overweight" group of Italian archeologists.
The canvas sides of the tent, although securely tied down, flap in the shifting Egyptian winds.
INDY and HENRY ENTER.
A white band with a red cross is wrapped around their arm. INDY holds a piece of paper in his hand.
The Italians go unaware of the two new comers as they eat and drink. They talk loudly amongst themselves with the opera music playing in the background.
INDY and HENRY exchange a glance. INDY holds up the piece of paper, clearing his throat.
INDY A-hum! Everybody stop it right there!
No one hears him.
INDY looks at HENRY then back to the table and takes a step forward.
INDY (cont'd) That's enough. We're closing this excavation by order of the Egyptian Government!
One by one, the oversized archeologists stop talking and turn to look at the noise.
For several moments, only the opera music fills the air.
HENRY steps forward and taps INDY on the shoulder.
HENRY Don't mind me, but now would be a very good time to do whatever plan you had in mind. INDY I'm doing it, dad! HENRY sighs and rolls his eyes. HENRY Junior! HENRY steps up and takes the paper from INDY'S hand.
HENRY (cont'd) My good man, who might be in charge?
The Italians begin to talk back to HENRY and INDY, none of them speaking or understanding any English. HENRY (cont'd) Oh dear... VARANELLI, who sits at the head of the table, stands to his feet. He throws down his napkin and takes a "healthy" gulp of red wine from his glass.
VARANELLI points to INDY and HENRY and yells in Italian.
HENRY tries to talk above the rising commotion.
HENRY (cont'd) No...Sir...This place is closed...Under quarantine...Bad health...
INDY steps closer to HENRY.
INDY'S eyes light up when he sees the STONE TABLET on the table. INDY Dad! There it is!
HENRY I see it. I get the feeling that they don't understand English.
Among the yelling and opera, INDY hears the HALF-TRACK'S engines roar to life.
INDY All right dad, that's enough. We're getting out of here!
INDY begins to move toward the table, when suddenly...
Machine gun and mortar fire explodes outside!
All the ITALIANS drop to the floor. INDY seizes the moment and steps forward. He grabs the STONE from the table.
INDY grabs HENRY by his arm, spinning him around. INDY (cont'd) Come on, dad! Let's go! Now! EXT. MAIN TENT - NIGHT
From over a far sand dune, headlights and flashes of gunfire from approaching vehicles can be seen.
Explosions rip through the camp, illuminating the entire area.
INDY and HENRY come running out of the tent.
HENRY looks at the oncoming vehicles. HENRY My, Sallah has many friends.
INDY That's not Sallah, dad! VARANELLI, along with several other Italians, come running out of the tent holding machine guns.
INDY pushes HENRY toward the base of the Great Sphinx. INDY (cont'd) Dad, over there! INDY unhooks his whip and lashes it toward VARANELLI, who is standing with his partners underneath the canvas awning that extends from the entrance of the tent.
The whip snaps about a center support pole. He tugs back, pulling down the pole. The Italians are covered with the canvas awning.
INDY runs up to HENRY, who is leaning against the sphinx.
Bullets explode behind INDY.
CARY, driving the HALF-TRACK, comes around the far corner of the main tent.
INT. ATTACKING JEEP - NIGHT
BLACK ANGEL sits in the passenger seat with MARGA bound and gagged in the rear.
ANGEL (to DRIVER) Do not stop until we have that stone. DRIVER Yes, my lady. BACK TO INDY
INDY waves toward CARY.
INDY Cary! Over here! Over here! INDY has his pistol drawn and is taking shots. HENRY has a small brush out and is cleaning an inscription on the Sphinx.
VARANELLI and his group uncover themselves from the canvas. CARY spins the HALF-TRACK into a turn, spraying sand into their faces as he cuts by.
Bullets explode off the side of the HALF-TRACK.
BLACK ANGEL'S vehicles begin to overtake the campsite. The hired help scatter for their lives.
Bullets and mortar explosions now rip through the dig site, turning it into a blazing inferno.
CARY skids the HALF-TRACK up to INDY and HENRY.
INDY runs toward the rear hatch. HENRY is still by the sphinx, examining the inscriptions. INDY (cont'd) Dad?! We've got to go. Bullets explode in the sand along side HENRY.
HENRY jolts back and jumps to his feet, running toward the rear hatch. INDY helps him into the back and gives HENRY the partial STONE TABLET.
INDY climbs up, waving to CARY to move on. INDY (cont'd) Step on it, Cary! The rear tracks of the vehicle spin, lurching the bulk of steel forward. A mortar explosion erupts right where it was just stopped.
SALLAH appears in the distant shine of the HALF-TRACK'S headlights.
The HALF-TRACK pulls up to SALLAH. INDY helps him into the back.
No sooner is SALLAH in, the HALF-TRACK is speeding out of the campsite and into the surrounding night.
Several bullets explode off the rear of the HALF-TRACK.
BLACK ANGELS'S vehicles have overtaken the dig site
INT. REAR OF HALF-TRACK - NIGHT
CLOSE ANGLE ON INDY AND HENRY
Their faces show a blank expression as they stare at the distant sphinx bathed in the glow of dancing firelight.
HENRY Some people have placed the creation of the sphinx to be well over twelve thousand years.
INDY But, that would place it way before the Egyptian times? HENRY I know. INDY Then who would of...
HENRY Built it? I don't know. Not yet anyway. EXT. MAIN CAMP - NIGHT
BLACK ANGEL stands bathed in the roaring firelight. A SOLDIER of darkness holds VARANELLI from behind with a gun to his head.
VARANELLI, flustered, speaks rapidly in Italian.
BLACK ANGEL smiles.
ANGLE ON ANGEL
ANGEL So, Jones has the second half. No matter. He will come to me.
ANGEL flashes MARGA an evil stare.
"BANG!" And a single gunshot echoes across the sands. DISSOLVE TO: EXT. CARGO SHIP - SAILING - DAY
SUPERIMPOSED over a MAP that traces a course from a seaport in EGYPT, to a seaport in TURKEY. DISSOLVE TO: EXT. BOAT DOCK - DAY
The dock is a bustle of activity. Crates of cargo are being unloaded and loaded onto awaiting cargo ships.
INDY, HENRY, CARY and SALLAH make their way toward a market place that runs along the shipyard.
INDY (to SALLAH) You told him to meet us at the boat dock?
SALLAH Yes. Don't worry, Indy, Ruhee will be here. He is the best guide in all of Turkey.
A MAN dressed in simple clothes with a white turban on his head steps in front of INDY. MAN Sallah?
INDY Indy? SALLAH steps forward, pointing to himself. SALLAH Sallah? MAN steps toward SALLAH. MAN I am here to take you. SALLAH looks beyond the MAN. SALLAH Where is Ruhee?
MAN Ruhee sent me. You come now or go on your own. INDY Sallah? CARY Hey, I don't trust this guy.
HENRY Well, I'm afraid our choices are limited at the moment.
SALLAH Indy, I believe your father is right. We have neither the time nor the experience to continue.
INDY gently rests the palm of his hand on the butt of his pistol in his holster.
INDY Well, my friend, we're wasting time standing round here.
MAN steps aside, extending an arm in the direction of a parked cargo truck. INDY (cont'd) After you, I insist. MAN nods his head and leads the group to the truck.
INDY (cont'd) (to CARY) Hey, keep your eyes open. Cargo trucks aren't my favorite rides. CARY Yeah, I'm watching. INDY, the last to board the rear of the truck, looks around the market and climbs in.
EXT. OPEN ROAD - DAY
The truck drives along a twisting dirt road through an open vastness of vacant land.
The mid-afternoon sun hangs lazily in the distant sky.
EXT. REAR OF TRUCK - DAY
The truck comes to a stop.
INDY jumps out the back. The MAN EXITS the cab. INDY How come we stopped?
MAN This is as far as I go.
INDY What? MAN points toward several large boulders just off the road.
MAN Do not worry. You will find some horses tied up behind that rock. They know the way to the two brothers of fire.
HENRY leans his head out from the back.
HENRY Say, are we stopping for a bite to eat, I really am hungry you know.
INDY No, dad, this is as far as he'll take us. Everybody out of the truck.
HENRY, CARY and SALLAH, EXIT the truck.
SALLAH goes up to the MAN.
SALLAH Please, my friend. Give my thanks to Ruhee, and to you. What is your name?
MAN My name does not matter. You travel on a journey in which there will be only one outcome.
MAN looks at HENRY.
MAN (cont'd) It is a decision that involves the thoughts of others.
The MAN gets back into the truck. MAN (cont'd) The selfish will not survive. The truck pulls away. INDY (to HENRY) What was he talking about, dad?
HENRY (laughingly) I haven't a clue? Not one! My, this is exciting though, isn't it! A horse whinny comes from (O.S.) INDY Just get on the horse, dad. EXT. BASE OF MONASTERY MOUNTAIN - DAY
A warm sun slowly sets behind a distant mountain range.
INDY, HENRY, CARY and SALLAH ride up to the base of a flight of stairs. The stairs stretch high up the mountain, to a distant monastery that is midway up.
The high peak of the mountain shadows the old monastery in a vale of darkness.
On either side of the monastery peak rises the two brothers of fire, Hasan and Erciyes Dagi, volcanos that have been silent for hundreds of years.
CARY I don't like the look of this, boys. SALLAH Look at all those stairs. INDY dismounts. INDY Well, they're not getting any shorter.
They start to climb the enormous staircase up the mountain.
EXT. MONASTERY - NIGHT
The front face of the stone monastery is a honeycomb of dark windows, small balconies and only one single entrance, cut into the center of the rock.
Two massive wooden doors lie twisted and burning on the ground before the entrance.
Several monk's bodies lie motionless about the area in their own pools of blood.
INDY leans down beside one of the bodies and turns it over, face up.
Bullet holes and wet blood cover the front of the monk. INDY God, he's been shot?!
CARY She's here...
HENRY Then, she has already beaten us.
INDY Not yet. She knew we would end up here. She has Marga, and we have the stone. INT. FRONT HALL - MONASTERY - NIGHT
Torches, along with other various burning furniture, illuminate the oversized rooms and maze of halls.
Dead monks are strewn about the entire labyrinth, but not one monk is holding a weapon.
SALLAH This is truly the work of the devil. Look at them, they had no weapons. Nothing to defend themselves. HENRY Nothing but the grace of God. INDY kicks something with his foot as he walks past a dead monk.
It's a small golden cross. It slides across the smooth rock floor and stops near the bottom of a hanging tapestry in a corner.
The glitter of the cross catches HENRY'S eye. He steps over, bends down and grasps it in his hand, just as he sees...
TWO FEET sticking out from behind the tapestry.
HENRY looks up to INDY, who motions his head for him to move away.
INDY and CARY move along either side of the tapestry.
INDY reaches over and pulls it aside, exposing...
An old, gray haired and long bearded MONK.
The MONK cowers and whimpers, falling to his knees from fright and exhaustion.
HENRY kneels down beside the old MONK. SALLAH Father of Indy, is he dead?
HENRY No, not yet. He probably would of died of fright standing here if we never found him.
With a shaking, frail hand, the MONK reaches up to HENRY.
The MONK'S voice is weak and trembling with fear.
MONK Before it is too late...you...must stop...the darkness before she releases the true evil...of man...
INDY kneels down beside the MONK, opposite HENRY. INDY Where? Where did she go?
MONK Help me...to my feet. I will...show you the way.
INDY and HENRY help the monk up, supporting him between them.
Wearily, the MONK manages to point toward one of the three passages that open before them. MONK This one...down this...one. INT. STUDY CHAMBER - NIGHT
The room is twelve sided and rises over two stories high. Small round windows encircle an upper dome, allowing the now full moon to cast its beams of light through the openings. Each beam cascades down on a long, tattered tapestry that hangs from the edge of the dome to the bottom of the floor. Each tapestry depicts an ancient religious happening throughout time.
In the center of the room is a large, twelve sided oak table with only one, oversized chair. Several candles burn brightly on the table, illuminating stacks of old manuscripts.
A single wooden door creaks on its bronze hinges as it's pushed open from the other side.
CARY and SALLAH, ENTER.
INDY and HENRY, ENTER, holding the MONK.
CARY My God, I bet this room could answer a lot of questions.
The MONK coughs, growing weaker.
INDY and HENRY bring him to the single chair and sit him down.
The MONK rests himself on the oak table. Wearily, he raises his arm and points a finger toward one of the tapestries.
MONK There...there you will find...the kingdom.
CARY rushes over to the tapestry and pulls it aside, exposing...
A tall wooden door with the carving of a tree and snake on the face.
CARY lifts the steel handle and pulls the door open. CARY We're in! The MONK reaches up, grabbing HENRY by the arm.
MONK We have kept it safe...for many hundreds of years. There is evil deep within... Never...remove the staff...never...
The MONK slumps over on the old manuscripts and takes his last breath.
HENRY takes the golden cross and places it in the hands of the dead MONK.
HENRY May you rest in the heaven of your God, my brother. INDY Come on, dad.
They EXIT through the tall wooden door.
INT. CEREMONIAL OPEN AIR ARENA - NIGHT
INDY, HENRY, CARY and SALLAH stand at the top of a long winding balcony that encircles the entire arena, ending at the floor.
CARY We're in the center of the mountain.
HENRY It looks more like the center of a volcano to me. INDY A dead volcano, I hope. SALLAH pats INDY on his back. SALLAH Ah, the volcanos in this region have been dormant for hundreds of years. We have no need to worry, Indy. CHANTING is heard from below.
CARY looks over the railing. CARY I think we've found them. They move closer to the stone railing.
This is what they see:
They are looking down into the pit of a dormant volcanic mountain, where an ancient ceremonial arena sits, giving an "evil" like church setting.
There is no ceiling but only the open top of the mountain where the full moon now hangs low overhead.
A line of massive stone pillars carved out of the dried volcanic lava line the entire circular edge of the arena. They stretch from the smooth black volcanic floor to a height beyond that of the winding balcony.
Bright flames dance wildly in huge torch bowls, casting a red glow on BLACK ANGEL'S SOLDIERS of darkness.
The SOLDIERS are all facing toward a raised section that is elevated several steps from the main floor.
On the raised "altar", is a long white marble table with several tall candles on either side.
Behind the white table is a throne, also carved directly out of the dried volcanic lava.
To the left of the stone table is an elaborate candle lit sanctuary surrounded by several bodies of stone. Some chipped and others warn by the elements of time.
In the center of the sanctuary is a design. It's comprised of a large center circle with twelve open settings. The center circle has male extensions at the north, south, west and east.
The center circle is surrounded by a larger ring that is cut into four quarters. Each quarter with a center female connection that is presently connected to the opposing male extension of the inner, center circle.
To the right side of the stone table are two large golden doors with the same design on the center.
BLACK ANGEL ENTERS with MARGA, from a passage behind the throne chair.
ANGEL is dressed in an elaborate ceremonial outfit of blacks and reds. Her cape is long and flows behind her like a shadow of death.
BACK TO INDY
CARY I should've waited for you guys outside.
INDY Too late now. Look! She's got Marga, and she looks ok.
CLOSE ANGLE ON ALTAR
ANGEL leads MARGA by the arm toward the sanctuary.
ANGEL Because Mr. Jones, has the second half of the tablet, I know not which opening will except the stone of Joshua.
MARGA Why are you telling me, I don't know! I never saw the stone tablet.
ANGEL Of course you did not see it, neither did I. But, since we do not know the correct location for the stone, you will choose. MARGA Me?! ANGEL rests her slender hand on one of the stone bodies.
ANGEL And, if you choose wrong, sorry.
ANGEL places the stone from her ring into MARGA'S hand and she pushes her toward the sanctuary.
ANGEL (cont'd) Do it now! I have little patience.
BACK TO INDY
INDY Oh my God! She's going to make Marga choose the placement of the stone! CARY But she doesn't know it?! INDY pulls out the partial stone tablet from his shoulder bag. INDY But I do. HENRY Junior?! INDY Dad, it's the only way! She knew we would come here! I mean, if anything else, just to get Marga.
SALLAH Indy, there must be a hundred men down there. INDY And?! HENRY Well, I'm going with you.
INDY No your not! HENRY reaches for the tablet from INDY. The TWO tug back and forth. INDY (cont'd) Dad! Let go! Dad!
HENRY Junior! Stop it! Indiana! "SWOOSH." And the stone tablet flies out of their hands.
INDY and HENRY both watch wide eyed.
In slow motion, CARY charges toward the sailing stone. With one last thrust, he dives, but only brushes the stone with the tip of his fingers.
The stone impacts with the floor, smashing into tiny pieces. INDY No! HENRY grabs INDY by the arm, but he jerks away.
INDY (cont'd) Dad! Get the hell off me. She's as good as dead now!
SALLAH points to a group of SOLDIERS that are coming up the winding balcony.
SALLAH And so are we if we do not move!
HENRY turns around and pushes open the wooden door from which they had first entered.
INT. STUDY CHAMBER - NIGHT
SOLDIERS are in the room. They charge toward the open door.
HENRY spins about, but it's too late as more SOLDIERS step up behind him.
HENRY looks sorrowfully to INDY. HENRY Indiana, I'm sorry. INDY looks away.
INDY (spiteful) Yeah, so am I. EXT. CEREMONIAL ALTAR - NIGHT
INDY, HENRY, CARY, SALLAH and MARGA all stand in a line on the altar next to the sanctuary.
ANGEL stands next to INDY and gently moves her long, black fingernails against INDY'S face.
ANGEL So, once again we cross paths. I must say, it's always a pleasure. INDY The pleasure is all mine. ANGEL digs her fingernail into INDY'S cheek, drawing blood. ANGEL The second half to the tablet! INDY smiles and glances at HENRY. INDY I don't have it.
ANGEL Ah, it's a pity there are only six of you and twelve possible positions.
INDY Tough luck, I guess.
ANGEL I suppose, maybe, maybe not. So then, shall I pick the first volunteer or will one of you be kind enough to step forth.
For a moment, there is silence. Then INDY and HENRY both step forward at the same time. INDY Dad?! HENRY Indiana! You step back. My time has come. You still have a chance. ANGEL smiles.
ANGEL He has eleven more to be exact.
HENRY Indiana, this is not the time for heroics. Step back. ANGEL pushes INDY on the chest, shoving him back in line.
ANGEL Yes Indiana, father knows best.
ANGEL hands the stone of Joshua to HENRY, who examines it as he walks through the bodies of stone to the front of the sanctuary. ANGEL (cont'd) Choose, father. HENRY studies the circular design. HENRY (to himself) Think. Remember the scroll. The stone...when the chamber is opened, the lock can only be opened...
ANGEL Father! Choose!
HENRY For Christ sakes, I'm thinking, woman!
SALLAH (surprised) Whoa...! HENRY closes his eyes in thought. HENRY It was the...day of...the day of the...no...the holy day!
HENRY holds the stone up to the circular design.
HENRY (cont'd) But, in the ten commandments, number four is remember the sabbath day, to keep it holy, and Sunday, the day of worship is, seven. Oh dear...
ANGEL Perhaps some persuasion will quicken your thought.
HENRY No! I have it. Stand back.
HENRY raises his hand to the fourth opening. INDY Dad... CARY Doctor Jones... SALLAH closes his eyes.
HENRY stops, moves his hand down to the seventh position and slides the stone in.
HENRY shuts his eyes, awaiting his fate. INDY Dad! It worked!
HENRY Oh, dear lord... The circular design begins to spin rapidly.
Then, each outside quarter dislodges, separating and sliding away from the center circle.
The design on the golden doors begins to follow the same motions until the fourth quarter disconnects, opening the doors.
The doors slowly spread apart, releasing with a hiss of pressure. A bright white light breaks its way through the opening. ANGEL The staff of Moses...My power! ANGEL walks toward the staff chamber, her figure bathed in a white glow.
INT. STAFF CHAMBER
The all powerful ancient staff of Moses is levitating perfectly erect within the center of the chamber.
ANGEL I have come to reclaim thee. ANGEL reaches out and grabs the floating staff. It sends a surge of power through her body. ANGEL (cont'd) Ah...It's beautiful! EXT. CEREMONIAL ALTAR - NIGHT
ANGEL EXITS the staff chamber. Her body beginning to undertake some sort of deformed transformation. CARY Oh my God!
HENRY Her body is not holy. The power is going to destroy her and kill us!
The entire floor of the arena begins to twist and buckle.
The SOLDIERS of darkness, also beginning to transform are scared for their lives and start to run from the arena.
The tall pillars begin to crack and crumble as the floor shifts and splits open. Molten lava and towers of fire spew out from the cracks.
ANGEL, slowly transforming into a hideous creature, stands in the center of the altar, facing the empty arena.
Three times she raises the staff and slams it on the altar floor. Each time, the buckling arena floor before her begins to be torn apart as a massive stone throne rises up from underneath. CARY Whose idea was this anyway?! MARGA Indy?! INDY Dad, what is it?
HENRY Pure evil... As the throne rises fully out of the fiery crevice, a grotesque, beast-man comes into view.
It is bound to the throne with huge stone clamps on his wrists and ankles. Molten lava slides from the beast's body and throne.
The BEAST looks to be the size of twenty men.
ANGEL is now fully transformed into a creature of evil.
ANGEL Father. I have risen you to take back what should be yours. To live your destiny of power and I to be your slave.
Slowly, the BEAST stirs its head and opens its eyes, revealing their evil black color and yellow pupils.
BEAST Who is it that is so foolish to raise me from my grave?!
ANGEL kneels. ANGEL It is I, my master.
BEAST Do you wish to die?
ANGEL Only if it is by your hand, then so be it, my master.
BEAST So it is said, you shall live! Release me!
CARY All right! This is getting to crazy! CARY charges forward, diving on ANGEL.
The staff is knocked from her grasp, sliding toward the edge of the fiery crevice.
INDY runs toward the staff, but is forced to dive away as a burst of flames from the BEAST shoot towards the staff.
The staff is blown sideways by the fire, stopping at MARGA'S feet.
CARY is thrown several feet by the immense power of ANGEL.
MARGA bends down and picks up the staff and uncontrollably throws it up in the air as she burns her hands.
ANGEL stops short, watching the staff sail through the air. Angrily, she turns to MARGA and lets out an evil roar.
The staff lands on the floor.
MARGA screams in fright and slaps ANGEL across the face.
SALLAH runs toward the staff as CARY dives onto ANGEL.
A stone pillar beings to fall toward HENRY and MARGA. INDY Dad! Look out! HENRY pushes MARGA toward the sanctuary and dives away.
The stone pillar falls, shattering across the floor.
SALLAH grabs the staff. SALLAH I've got it! I've got it! CARY is thrown by ANGEL. She jumps SALLAH from behind.
The staff flies from SALLAH'S hands and skids across the floor toward HENRY.
The altar floor buckles, tossing SALLAH and ANGEL toward the open fiery crevice. INDY Dad! The staff! Sallah! The BEAST roars madly.
INDY unhooks his whip. In one toss, he lashes it about SALLAH'S legs as he starts to slide over the edge of the crevice, still holding onto ANGEL.
MARGA pulls the stone of Joshua out of the circular key, causing the golden doors to close and the BEAST descend.
HENRY is standing in awe at the staff in his hands.
INDY starts to slide toward the crevice. CARY dives toward SALLAH, managing to grab part of the whip. CARY Sallah! Drop that thing! SALLAH looks into ANGEL'S deformed eyes.
SALLAH I am sorry. SALLAH drops ANGEL, her body disappearing into the lava.
MARGA runs past HENRY. She snatches the staff from his hands and runs toward the closing chamber doors. HENRY Huh? Hey, wait!
INDY Marga, no! No! As MARGA runs past INDY, she stops, kneels down and gives him a passionate kiss. MARGA I love you, Indiana Jones. MARGA springs to her feet and continues toward the doors.
HENRY is only steps behind her. HENRY Marga! Marga, stop! INDY releases one hand from his double grip on his whip, reaching out to HENRY. SALLAH jerks down, almost pulling CARY over. SALLAH Ahyee! Indy! INDY Dad! No! CARY Indy! Hold the damn whip! INDY returns his grasp and watches helplessly as MARGA runs through the golden doors.
HENRY stops at the doors and looks back to INDY, a tear in his eye. HENRY I love you, son... HENRY turns about and jumps through the doors as they shut.
The BEAST has descended back down into the molten lava.
INDY Marga! Dad! No! No...! CARY pulls SALLAH up and onto the altar. The entire arena is now buckling and twisting, molten lava bursting up through the cracked floor.
INDY runs toward the staff chamber, slamming his fist on the sealed doors. INDY (cont'd) No! No! CARY Indy, come on! This whole place is going to go any second!
SALLAH Indy, we cannot help them if we too are trapped. Please, my friend. We should go now while we still can. SALLAH places a hand on INDY'S shoulder. SALLAH (cont'd) It is how he would of wanted it. INDY turns about, facing SALLAH. INDY Well, what are you standing there for. Let's get the hell out of here!
They run out through a side passage as the entire arena becomes engulfed in flames.
EXT. MONASTERY MOUNTAIN - NIGHT
The top of the mountain is exploding into a fiery inferno, illuminating the surrounding area into an evil daylight.
EXT. MAIN ROAD TO GABBY'S BAR - SPAIN - DAY
A cattle truck drives across the screen.
INT. REAR BED - CATTLE TRUCK - DAY
CARY and SALLAH sit near the tail of the truck as the cattle wobble back and forth, mooing at their strange hitchhikers.
INDY stands alone, clutching the side bars, he stares out at the passing scenery.
CARY Indy, we did everything we could. We would've been killed too.
SALLAH He is right.
INDY It's not fair. My father was right about family.
CARY What was that?
INDY Her uncle, you know, is probably going to kill me anyway. But I had to come back and tell him what she did for me. For us. Hell, for everybody.
The sounds of a grand fiesta can barely be heard (o.s.).
SALLAH I think he'll understand. It is what she wanted to do, Indy.
CARY begins to hear the party.
CARY What's that? Sounds like a party or something.
INDY looks toward the oncoming town.
The sights and sounds of a celebration slowly come to the senses.
INDY Oh my God! It's a town party. They must of heard of the Black Angel's death.
CARY and SALLAH stand, moving closer to INDY.
CARY puts his arm around INDY.
CARY Don't worry, buddy, it'll be all right.
The cattle truck pulls into the beginning of town which is jammed packed with people drinking, singing and dancing.
The driver stops the truck and shuts off the engine. He jumps out of the cab to join the festivities.
INDY Come on, let's walk. They jump off the truck and begin to push through the crowd.
EXT. GABBY'S BAR - DAY
GABBY stands outside, arms crossed and his face expressionless as he watches the group come near.
INDY steps toward GABBY.
For a moment, there is a tense silence between the two.
INDY struggles to say something.
INDY I...I...We tried...But...She...
GABBY lurches forward and embraces INDY in a giant hug. His breath is squeezed from his chest.
GABBY Senior. I am truly sorry about your father. He had the heart of a hundred, no, a thousand men! But the power of God was on your side. INDY What? But I... MARGA walks out of the bar with a man at her side.
MARGA is beautifully dressed from head to toe, a picture perfect Spanish "princess."
INDY'S mouth hangs open. INDY Marga?! SALLAH smiles, blowing a kiss to the sky. CARY But how...Ah...Hell, it doesn't matter!
MARGA steps forward, embracing INDY in a hug and a deep kiss. JUAN A-hum... MARGA breaks away, letting go of INDY.
MARGA Oh, excuse me. I'm sorry. GABBY steps next to JUAN, wrapping an arm around him.
GABBY Senior Jones, meet my nephew, Juan. He is, how would you say, an investigator, like you. INDY (confused and surprised) Your...nephew?! INDY grabs MARGA'S hand. MARGA When I put the staff back into the chamber, there was a strange feeling. I only closed my eyes and prayed. I prayed to be back home with my uncle.
INDY I...I don't believe it.
MARGA I'm sorry about your father, Indy. He had to make a choice. (beat) He choose you, Indy. Your father choose you. INDY and MARGA embrace.
JUAN steps over to CARY and SALLAH. INDY I thought I would never see you again.
MARGA I thought I would never see you again. (beat) I love you. INDY holds MARGA tightly. INDY I never want to let you go. MARGA Don't. INDY pulls back, still holding his grasp about MARGA.
INDY I think it's about time I retire. MARGA What? INDY From teaching. I'm done. My father was right.
MARGA Your father was right about what? INDY smiles. INDY Ask me that question in another twenty years, would you.
CARY, SALLAH and JUAN step over to INDY and MARGA.
CARY Indy, Juan says he is close to the location of the Fountain of Youth.
For a moment, INDY is interested. INDY The Fountain of Youth?!
CARY If we get our stuff together...
INDY And have Sallah make a couple of phone calls...
CARY We could be out of here in no time!
A squeeze on INDY'S hand suddenly makes him shake his head. INDY Cary... INDY takes off his whip and hands it to CARY. INDY (cont'd) If you want to go... INDY slips off his leather jacket and hands it to CARY.
INDY (cont'd) You can take this stuff, and anything else you might need.
CARY What? What are you talking about?
SALLAH sees the look in INDY'S eyes and begins to laugh.
INDY takes off his FEDORA.
For a moment, he holds the old FEDORA in his hands, gently spinning it. The sight of it brings back a flood of memories from past adventures. Past images of adventures flash through his head.
INDY smiles, laughing to himself.
He takes the FEDORA and places it on CARY'S head.
INDY I'm done, kid. The fortune and glory is all yours.
GABBY Come! We celebrate! Everyone inside. The day is young. Tonight is the start of a new life for me and my people!
GABBY and JUAN enter the bar.
SALLAH walks past CARY, giving him a firm pat on his back. He continues to laugh, ENTERING the bar.
INDY Come on, Cary, let's go have some drinks. It's been a long day. Besides, I might be able to give you a pointer or two. It took me a long time, but I think I've finally found what I've been looking for all these years. CARY What's that?
INDY Ha! You'll find out. One of these days. Just keep looking, kid. And remember, don't ever give up. INDY and MARGA ENTER the bar.
CARY Ok! But don't come crying to me when you're a hundred and I'm only twenty, after I find the Fountain of Youth. CARY adjusts the fedora on his head. CARY (cont'd) Hey, I'm talking to you, Indiana Jones! Get back here! I'm not done with you yet, Jones! Indy! Indy...!
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Site Author: Micah Johnson
Page Author: Greg Hildebrandt, Jr.
Created: July 22, 1998
Last modified: July 22, 1998