THE METROPOLITANS — Episode Thirty Three

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A saga of everyday life in the Big L and a wry look at contemporary culture

By Tony Carden

 

Episode Thirty Three

 

‘We have a deal.’ Mary plucked a petal from the flower. ‘We don’t have a deal.’ She plucked another one. ‘We have a deal.’

There was a thumping and Des blundered into her office.

‘What are you doing here? I gave strict instructions not to be disturbed.’

‘Shoshe whatsh?’

‘You’re drunk.’

‘Wafsh ish Ijh amsh?’

‘It’s disgusting. You’re slurring your words.’

‘Sosjh?’ He staggered over to the settee and collapsed. He righted himself and stared at her. ‘Welsh?’

‘You’re revolting.’

‘Whatcha doing?’ He pointed at the pile of petals on the floor.

‘Oh that.’ With her foot, she shuffled the petals under her desk. ‘Nothing.’

‘The lasht time you did sthat was on our …’ Des put his hand to his head, ‘… ooh, it ‘urts it does.’ He squinted at her. ‘Zats it! Our honeshmoon!’

‘I think you should go off to bed.’

‘Youz comin?’ He looked hopeful.

‘I think you should sleep in the visitor’s room tonight.’

‘Pish, don’t I alwash…’ He lay back on the sofa. In a moment, he began to snore.

She looked at him and shook her head, then pressed a buzzer on her desk.

A moment later there was a knock at the door.

‘Come in.’

A man entered and looked around. He spotted Des lying on the sofa.

‘You wanna me to see ‘im to bed.’

‘If you don’t mind. He was his old school reunion and I think they celebrated in style.’

‘ ‘e’ll ‘ave a beaut of a ben dover tamorrah.’

‘I’m sure he will.’

The man pulled Des upright and he partly came to. ‘Come-ze mate.’ With some difficulty, he led him out the door. It remained partly open.

There was a knock. Adrian popped his head around the door. ‘PM, you available?’

‘Who wants to see me?’

‘Ralston is here and hoped to have a word with you.’

‘I suppose so. Send him in.’

Adrian’s head disappeared. There was a conversation outside, but Mary couldn’t hear what was being said.

A knock. Ralston stepped in.

‘Good of you PM to see me. I was just having a meeting with Carberry.’ He stopped and sniffed.

‘Is there something wrong?’

‘There’s a funny smell in here.’

‘Really?’

‘Well, to be honest, it reminds me of a downmarket pub.’

‘I’ll tell the manager. Perhaps we’ve got vermin. We’ll get Larry to sniff around a bit.’

‘Will he cooperate? Cat’s aren’t renowned for taking orders. A bit like herding the PP, isn’t that so PM?’

‘I think cats are easier.’ Mary indicated a chair. ‘Make yourself comfortable at least. You look awkward standing there.’

‘Of course, PM, of course.’ Ralston sat where indicated.

‘What did you want to see me about?’

‘Well, PM, I have a brilliant idea about how to rescue the Plan.’

‘I see. I trust it isn’t having a second referendum.’

‘Oh, lord no! You’ve made it perfectly clear we’re not re-opening that can of worms. You and I agree that wouldn’t be good at all.’

‘But a head of steam is building up. Just look at The Independent! Banging on about the will of the people—and all that.’

‘PM, listen, I’ve got this suggestion. What if we ask the EU for the Swiss model?’

‘The Swiss model? What follow the land of chocolate boxes and cuckoo clocks?’

‘Why yes. They have a land border with the EU and they rub along together swimmingly, if you get my drift.’

‘Didn’t they negotiate every single point of access with the EU separately and that the Commission is now trying to put in place a comprehensive agreement instead of the rag-tag of sector, industry and I don’t know what treaties.’

‘But don’t you see, PM, that’s the beauty of it. We can work with the Swiss on making it all happen. They win. We win.’

‘Jeremy, we have till the end of March to get this sorted. No, not even that for some things.’ She gesticulated at a huge pile of documents in her in-tray. ‘That stack there are all the individual agreements that have to be worked out.’

‘I’m sure most of them are simply a case of agreeing to agree—or agreeing to disagree.’

‘You’re an optimist, aren’t you even after your sessions with Bernard?’

‘I talked to him about how time is pressing last weekend. He would like to wrap it all up pronto.’

Mary gave him a quizzical stare.

‘Oh, I know what the press said. Only an hour and we didn’t get his OK for the Plan. But that doesn’t mean we haven’t got the greenlight for most things. I would say we’re ninety-five percent there.’

‘But it’s the five percent that has the potential to blow up everything.’

‘That’s where the Swiss model is so brilliant. We can salami slice the agreement and get those bits Bernard and the Commission warm to all agreed now. We can then settle the rest in good time.’

‘And what still needs to be sorted? I seem to recall,’ she reached into her huge pile and pulled out a large dossier, ‘that customs arrangements are a contentious issue.’ She pulled out another folder. ‘And travel.’ Then two more. ‘There’s financial regulation.’ She slammed one of the folders down on her desk. ‘And the Rights of EU citizens.’ She started pulling out other folders. ‘There’s more…’

‘But the rest we can agree on.’

‘’Sure. The regulation of pork sales and tobacco labelling.’ She gave him a hard stare. ‘We’ve agreed the easy stuff. Here we are talking red lines.’

‘Bernard wants to be reasonable.’

‘Reasonable?’ She rolled up the document she held in her hand like a truncheon and pointed it at him. ‘The only reasonable he has in mind is our abject surrender to all his demands.’

Mary got to her feet and stood brandishing the roll as if it were a sword. ‘We will not surrender.’

After a moment she sat down again.

‘I guess your idea is worth a try.’

‘I’ll get on to it right away, PM.’

 

*   *   *

 

Just a Reminder

You did know that there is a compendium of the first twenty-five episodes available on the Amazon Kindle store for your delight?

Click here to view

 

*   *   *

 

Ahmed swung his Prius in a full circle and pulled up beside the curb. A young man, with a bag in hand, stepped over.

Ahmed wound down the window. ‘Mr Evans?’

‘Yeah, that’s me. Waterloo Station, yes?’

‘Yep. That’s it.’

‘How quickly can you get me there?’

‘Usual. Twenty. Twenty-five minutes or so. Depends on traffic.’

‘Well, as quick as you can. The train leaves at 18:36.’

‘Do me best.’

Ahmed signalled and pulled out.

They headed down Shaftesbury Avenue. About half-way down, they got stuck in traffic. He could see the lights turn green, then amber, then red. The traffic didn’t move. The lights went green again. He honked. But the lines were at a standstill.

Ahmed turned to his passenger. ‘Sorry mate, I’ll see if I can go ‘round.’

‘Yes, sure. Time’s running out.’

Ahmed indicated to go right into a side street. But there was a continuous stream of vehicles coming the opposite way. Eventually, he managed to get into the street by edging out and blocking the way to a bus. The irritated driver waved Ahmed through.

But about two hundred metres in, the road was clogged. A delivery van was preventing cars going both ways.

Ahmed honked, wound down and leaned out the window. He gesticulated at the delivery man. ‘Getcha out the way.’

The man waved a hand in the air. ‘Hey, hang on to your cobbles, mate. Won’t be a minute. One more trolley to go.’

Ahmed honked again.

‘We’re not going to make it, are we?’

Ahmed swivelled round to speak to his passenger. ‘If we can just get past this, I should be able to get you there on time.’

‘I should have gone by tube.’

‘It isn’t normally like this.’

‘Except when you’re in a hurry.’

‘You’d think the congestion charge wouldda helped, yeah?’

Ahmed honked again.

The delivery driver waved at him, closed the doors to his truck and went around to the cab. The flashing lights stopped. The truck edged slowly forward. Ahmed followed close behind. Just before a junction, the truck indicated left. Before it could turn and clear the intersection, it stopped.

Ahmed honked furiously.

The truck’s reversing lights came on. It started to edge back.

Ahmed looked in his rear-view mirror. ‘Shit.’ He put his hand on the horn and kept it there.

The truck stopped. The driver came around and surveyed the situation. He came over to Ahmed and shook his head. ‘I ain’t going to be able to go down, mate. I need to back up.’

‘You’re gonna have to get those behind to shift back.’

‘Yeah.’ The driver headed down the street towards the cars that had stopped behind the Prius.

‘This is hopeless.’ His passenger got out of the car.

‘Whatcha doing?’

‘I give up.’ He pulled the bag out and faced Ahmed. ‘That’s it. Ride’s off.’ He reached into his pocket and pulled out his mobile, tapped at it and then switched it off.

There was a ping on Ahmed’s phone. ‘Thanks mate.’ He watched his passenger walk away back the way they had just come. He glanced at his phone. It said 18:29.

Ahmed noticed the car behind him had backed up. He reversed slowly back to give the truck room to move.

A little later, the driver returned and got back in. The reversing lights came on. With the alert pinging, the truck slowly backed into the street. It stopped. With a jolt, it started forward.

With no bids coming through, Ahmed followed the truck seeking a place to stop and wait. There were no spaces available.

The mobile pinged. Ahmed pulled in against the curb on a double yellow line. He quickly glanced at the message. Too far away, so he didn’t put in a bid. He indicated to pull out just as a large SUV thundered down the street, nearly colliding with him. The vehicle passed and headed for the end of the street. Ahmed pulled out to follow.

Instead of stopping at the give way sign, the SUV accelerated and, to Ahmed’s astonishment, seemed to leap into the air and crash down on a car parked opposite.

Ahmed pulled up at the junction. Remembering to put on his hazard lights, he got out and went over to the SUV. He stood on a tire of the crushed car to get high enough to see in. The driver seemed to be sitting there in a daze. Ahmed s slapped loudly on the window. ‘Hey, mate, you OK?’

This seemed to bring the man out of his stupor. He gazed around. His eyes focused on Ahmed. He wound down the window. ‘Yeah. Just a bit shaken. What happened?’

‘You seemed to jump up when you reached the junction.’

‘How’s that possible?’

Ahmed stepped down and stood back.

The man opened the door and unfastened his seat belt. He looked at the fact the car was up in the air. He clambered down over the roof and bonnet of the car beneath.

‘Did you press the accelerator instead of the brake?’

‘If I’d done that, I’d have smashed into the car, not flown up into the air.’

‘Yeah, I guess so.’

Ahmed’s phone pinged. A ride. He quickly tapped in a reply. There was a moment’s pause. His mobile pinged again. He read what had popped up. ‘Gotta go. Business.’

‘Yeah, well, you take care.’

Ahmed got in, started the engine and carefully drove around the crash towards his next hire.

 

*   *   *

 

INDY REF2 AND THE LOST CRUSADE

Part 6

 

The story so far…

 

Several years after his encounter in Trafalgar Square with Panama hat, Indy finally manages to best the radical European group and steal their banner, which he delivers to his mentor Brody. Escaping from his students in his political theory class, Indy is picked up by henchmen employed by William Donovan. At this meeting, Indy hears about the missing elements of Orwell’s key political treatise and the fact Donovan has information as to their whereabouts. Agreeing to go and search for these, Indy is told that the manuscript might be in Venice, Italy.

Having found a clue to Orwell’s treatise on political manipulation in the catacombs of Venice’s library and met Elsa, they are attacked and barely escape with their lives when the catacombs are engulfed in a firestorm.

 

 

EXT. VENICE PIAZZA – OUTDOOR CAFE – DAY

The perfect picture postcard — St. Mark’s Square and the

Grand Canal beyond. Cafe customers are startled to see Indy

and Elsa climb out of the sewer, wet and smelly. Indy looks

around at the postcard-perfect setting and smiles.

INDY

(wryly)

Ah, Venice!

Indy’s delight, however, is short-lived since Kazim and TWO

OTHER FOREIGN AGENTS are running towards them with drawn guns.

He grabs Elsa by the hand and the two of them run down the

dock and LEAP INTO A MOTORBOAT.

INT. THE MOTORBOAT – DAY

Indy fires up the engine and pulls away from the dock… but

not before a FOREIGN AGENT JUMPS in with him.

Elsa grabs the wheel and begins to steer the boat while Indy

and the Agent trade punches.

EXT. THE HARBOR – DAY

Indy’s Speedboat BOUNCES across the choppy waters heading in

the direction of the DOCKED CRUISE LINER.

Kazim and his men rush to TWO MORE SPEEDBOATS tied to the dock.

They chase after Indy.

Indy grapples with the Foreign Agent. As Indy grips his arms,

we SEE a GUN in the Agent’s hand. It FIRES.

As Indy fights with the Agent, he becomes aware of the

Speedboats behind him and two enormous Freighters ahead of

him, joined together by two giant ropes.

Indy, having gained the advantage, leans on top of the Agent.

INDY

(to Elsa)

Are you crazy?! You don’t go between

them!

Elsa can barely hear Indy over the noise of the motor.

ELSA

Go between them? Are you crazy?!

Indy finally delivers the punch that sends the Agent

flying overboard. Turning, Indy sees that Elsa has committed

the speedboat to a course BETWEEN the two Freighters, now

being pushed even closer together by a Tugboat.

INDY

I said go around!

ELSA

You said go between them!

INDY

I said don’t go between them!

It’s purely academic at this point since the hulls of the

two Freighters loom up on either side of them like cavern

walls.

EXT. FULL SHOT – THE HARBOR – DAY

One Enemy Speedboat chases Indy between the two Freighters.

But the Speedboat containing Kazim veers off and goes around.

EXT. BETWEEN THE TWO FREIGHTERS – DAY

It’s a race for daylight as the two Freighters drift ever

closer to one another.

Indy’s Speedboat just manages to squeeze through the gap.

But the Enemy Speedboat EXPLODES as it is crushed between

the two Freighters, FLYING INTO THE AIR and SPLASHING back

down into the water.

INDY AND ELSA

Spin their boat around in a sharp half-circle to see KAZIM’S

SPEEDBOAT appear racing toward them. He stands in the moving

boat, FIRING A MACHINE GUN at Indy and Elsa.

KAZIM’S SPEEDBOAT

Matches Indy’s move for move.

FULL SHOT – THE HARBOR

The two boats race across the water nearly side-by-side. A

CHATTERING MACHINE GUN from Kazim’s boat SPLINTERS the wood

of Indy’s boat, until finally the rear of the boat CATCHES

ON FIRE.

The machine gun runs out of ammunition. Kazim puts it down

and takes control of the wheel from one of the Foreign Agents

in the boat with him.

As Indy’s boat drifts toward the GIANT, TURNING PROPELLERS

at the STERN of ANOTHER STEAMER, Kazim’s boat draws up

alongside and hits them. Indy steps into Kazim’s boat. He

knocks one of the Foreign Agents to the deck, then turns his

attention to Kazim. The two men trade punches as the boat

spins helplessly in the churning water.

ELSA

No!!

Indy kicks Kazim in the face, knocking him into the water,

then pulls him back into the boat, now being SUCKED THROUGH

THE CHURNING WATER toward the Steamer’s giant propeller

blades.

INDY

Why are you trying to kill us?

KAZIM

Because you’re looking for Orwell’s formula.

INDY

My father was looking for Orwell’s

Manuscript too. Did you kill him too?

KAZIM

No.

INDY

Where is he? Talk — or you’re dead.

Damn it, tell me! Tell me!

KAZIM

If you don’t let go, Professor Ref2,

we’ll both die.

INDY

Then we’ll die.

KAZIM

My soul is prepared. How’s yours?

By now half the boat has been chopped up into matchwood and

the blades are getting closer.

INDY

This is your last chance.

KAZIM

No, Professor Ref2. It’s yours!

The wind of the blades is on their necks. Indy grabs Kazim

just in time and jumps… into the motorboat, driven by Elsa,

which gets alongside in the nick of time.

INDY

All right! Where’s my father

KAZIM

If you let me go, I will tell you

where he is.

INDY

Who are you?

KAZIM

My name is Kazim.

INDY

And why were you trying to kill me?

KAZIM

The secret of Orwell’s Manuscript has been

safe for seventy years. And for

all that time the Brotherhood of Europe

has been prepared to

do anything to keep it hidden.

Kazim pulls back his shirt to reveal a birthmark… or is it

a tattoo? Whatever it is, it’s a circle of gold stars; in the middle

is written “Pax Europa”.

KAZIM

Let me get off at this jetty.

The boat is close to the edge of the canal. Indy gives Elsa

a nod, telling her to bring the boat in. Kazim steps ashore.

KAZIM

Ask yourself, why do you seek Orwell’s

Manuscript? Is it for Donavan’s benefit,

or for yours?

INDY

I didn’t come for Orwell’s Manuscript.

I came to find my father.

KAZIM

In that case, peace be with you in

your quest. Your father is being

held in the Castle of Brunwald on

the Austrian-German border.

Kazim walks away.

INT. VENICE APARTMENT – DAY

CLOSE ON THE WATER-SOAKED PAPER: The manuscript

retrieved from the catacombs.

Brody is giving it careful study while he dabs the lump on

the back of his head with an ice pack.

INDY

How’s the head?

BRODY

It’s better, now I’ve seen this.

There’s a name written here.

Can’t quite make it out.

“Cass Ander?” Hmmm…

Indy, wearing a bathrobe, leans over to study the writing.

INDY

Orwell always thought his writings were dynamite.

Perhaps he entrusted them to someone called Ander?

Brody lowers the ice pack from his head and looks at Indy.

INDY

Well, it could be, no?

Orwell always regretted putting his political insights to paper

that is why he wrote “Animal Farm”.

He could disguise the Truth of the political process as a fable.

Think of what he wrote:

“All animals are equal, but some animals are more equal than others.”

(pause)

But why exactly?

BRODY

Your father would know. Your father

did know. Look. He drew a diagram.

Brody picks up the Manuscript.

BRODY

He must have pieced it together from

clues scattered through the whole

of Orwell’s political writings. A diagram

with no explanation.

INSERT: A PENCIL-DRAWN DIAGRAM

It covers two pages of the Diary. Brody’s finger moves across

it.

BRODY

Now, he knew there are many different forms of

political organisation. Here. He knew they

could morph from one form to the other

for democracy to degenerate into tyranny;

for despotism to be overthrown by revolution;

for civil war; for communism and fascism. He knew everything except

where to begin, the key starting process.

INDY

(solemnly)

Cass Ander. Now we know.

BRODY

Yes. Now we know.

INDY

(rising)

Marcus, get hold of Sallah. Tell him

to meet you in Dunoon.

Indy closes the Manuscript and puts it into the pocket of

his robe.

BRODY

What about you?

INDY

I’m going after Dad.

INT. INDY’S BEDROOM – DAY

Indy opens the door. His bedroom has been ransacked… the

mattress on the floor, the drawers turned out.

INT. HALLWAY – DAY

Indy approaches another door (Elsa’s bedroom) and knocks.

INDY

Elsa?

He goes in.

INT. ELSA’S BEDROOM – DAY

…and finds that Elsa’s bedroom is in a similar ransacked

state to his own. The room is empty.

He is worried for her, knocks and calls out:

INDY

Elsa?

He steps into the room and knocks upon the bathroom door.

INDY

Elsa?

He opens the bathroom door, peering inside.

INDY

Elsa?

INT. ELSA’S BATHROOM – DAY

Elsa is standing before a mirror, wearing a silk bathrobe.

She gasps, startled, as Indy enters. He retreats into

her bedroom as she reaches up to turn off a record player

sitting on a ledge above the bathtub.

INT. ELSA’S BEDROOM – DAY

Elsa joins Indy, waiting in the ransacked room. She looks

around in shock.

ELSA

My room!

INDY

Mine, too.

ELSA

What were they looking for?

She looks to Indy, who pulls the Manuscript from his pocket.

INDY

This.

ELSA

The Manuscript.

INDY

Uh-huh.

ELSA

You had it? You didn’t trust me!

She looks hurt and beautiful. She comes closer to him.

INDY

I didn’t know you.

She’s awfully hard to resist.

INDY

At least I let you tag along.

ELSA

Oh, yes. Give them a flower and

they’ll follow you anywhere.

INDY

Knock it off. You’re not mad.

ELSA

No?

INDY

No. You like the way I do things.

ELSA

It’s lucky I don’t do things the

same way. You’d still be standing at

the Venice pier.

She stomps her foot angrily. Indy flinches. She starts to

walk away but Indy grabs her.

INDY

Look, what do you think is going on

here? Since I’ve met you, I’ve nearly

been incinerated, drowned, shot at,

and chopped into fish bait. We’re

caught in the middle of something

sinister here. My guess is Dad found

out more than he was looking for.

And until I’m sure, I’m going to

continue to do things the way I think

they should be done.

He pulls her to him and kisses her.

ELSA

How dare you kiss me!

Now Elsa reaches for Indy and kisses him.

INDY

Leave me alone. I don’t like fast

women.

But he embraces her, and Elsa begins to nibble at his ear.

ELSA

And I hate arrogant men.

Indy smiles slyly as they fall to the bed.

EXT. VENICE CANAL – DAY

A GONDOLIER SINGS as he steers his gondola carrying two

passengers past Indy’s window.

INT. INDY’S BEDROOM – DAY

Indy lies on top of Elsa, kissing her. He stops for a moment

as he hears the Gondolier SINGING.

INDY

Ahh, Venice.

Elsa reaches up and pulls him back down to her.

EXT. ROAD THROUGH THE AUSTRIAN MOUNTAINS – DAY

A Mercedes SUV glides through the sharp mountain curves.

This is SUPERIMPOSED OVER A MAP that charts their course

from Venice across Austria toward Salzburg.

EXT. CASTLE IN THE AUSTRIAN MOUNTAINS – DAY

Storm clouds darken the skies. THUNDER EXPLODES in the

distance; lightning flashes. The Mercedes drives into

the courtyard of the formidable stone castle.

INDY

What do you know about this place?

ELSA

I know the Brunwalds are famous art

collectors.

INT. MERCEDES – DAY

Indy reaches into the back seat and retrieves his bullwhip.

ELSA

What are you going to do?

INDY

Don’t know. Think of something.

He glances up to the beret Elsa is wearing. She reaches up

and adjusts it.

INT. CASTLE ENTRANCE HALL – DAY

A BUTLER walks to the door and opens it to reveal Indy and

Elsa standing outside in the rain. She now wears Indy’s

fedora; Indy is wearing Elsa’s beret.

BUTLER

Yes?

Indy, followed by Elsa, steps inside, shaking the water from

his overcoat. He adopts a Scottish accent.

INDY

And not before time! Did you intend

to leave us standing on the doorstep

all day? We’re drenched!

As Indy says this he pushes his way past the startled Butler,

pulling a handkerchief from the man’s pocket. Elsa follows,

taking off her coat. Indy SNEEZES HARD.

INDY

Now look! I’ve gone and caught a

sniffle.

Indy dabs at his nose with the handkerchief as Elsa looks on

in amused amazement.

BUTLER

(coldly; with Austrian

accent)

Are you expected?

INDY

Don’t take that tone with me, my

good man. Now buttle off and tell

Baron Brunwald that Lord Clarence

MacDonald and his lovely assistant

are here to view the tapestries.

BUTLER

Tapestries?

INDY

Dear me, the man is dense. This is a

castle, isn’t it? There are

tapestries?

BUTLER

This is a castle. And we have many

tapestries. But if you’re a Scottish

lord, then I am Mickey Mouse.

INDY

How dare he?!

Simultaneously knocking the Butler cold with one slug on the

jaw. The Butler falls against a wall tapestry, sliding down

to the floor, out cold.

INT. CASTLE HALLWAY – DAY

Indy and Elsa move cautiously and quietly down the wide,

vaulted hallway. APPROACHING VOICES ARE HEARD. Indy and Elsa

creep past a room full of SOLDIERS working around a

large table with a map atop it…

Indy reacts to the sight of them.

INDY

(to Elsa; softly)

WAR MONGERS. I hate these guys.

Indy and Elsa continue down the hallway. Indy carries a gun

in his hand and his whip hangs from his belt. He steps to a

closed door and listens.

INDY

This one. I think he’s in here.

ELSA

How do you know?

Indy points out an ELECTRONIC CONTROL BOX.

INDY

Because it’s bugged.

He studies the situation for a moment, then decides to enter

one of the other doors. He knocks at the door — there is no

response. He looks back at Elsa and enters.

INT. CASTLE ROOM – DAY

The room is dark and empty. Indy throws open the window

shutters and looks out. RAIN comes down in sheets. There is

a wide ledge beneath each window — but below that is a SHEER

DROP. Indy wants to get out onto the window ledge, which is

several yards away.

ELSA

Indy? Indy?

Indy reassures her.

INDY

Don’t worry… this is kid’s play.

I’ll be right back.

He leans out the window and wraps his bullwhip around some

wires that protrude from the castle wall above the next

window.

He gives the whip a forceful tug to make certain it will

hold his weight.

EXT. THE CASTLE – DAY

Indy SWINGS from the window to the stone gargoyle.

CLOSE ON THE WINDOW LEDGE

A PAIR OF WOODEN SHUTTERS seals the window.

Indy takes hold of the bullwhip with both hands, pushes off

with his feet… swings toward the shuttered window with his

feet extended… CRASHING THROUGH THE WOODEN SHUTTERS as a

CLAP OF THUNDER disguises the noise.

INT. THE ROOM – DAY

Indy CRASHES THROUGH SHUTTERS AND GLASS into the room. The

broken shutters hang by their hinges. Rain and cold air whip

through the open window.

No sooner does Indy get to his feet, than a VASE COMES

CRASHING DOWN ON THE BACK OF HIS HEAD.

Stunned, Indy sinks to one knee… and Indy’s father,

PROFESSOR Sean Ref2, steps out of the shadows.

SEAN

Junior?

Indy gets to his feet.

INDY

(a reflex)

Yes, sir!

This reply is a kneejerk reaction on Indy’s part. Now they

look at each other.

SEAN

It is you Junior!

INDY

(an old familiar

irritation)

Don’t call me that, please.

SEAN

(amazed)

But what are you doing here?

INDY

I came to get you! What do you think?

SOLDIERS’ VOICES ARE HEARD approaching. Indy and Sean press

themselves against the wall, Sean still holding the broken

vase in his hand.

Indy steps to the window and looks down. Sean moves to a

lamp, holding the vase under the light for a closer look.

SEAN

(sotto, mumbled)

Ikea. And I thought it was valuable.

Sean is all about the broken vase which he still holds in

his hand. Father and son get onto crossed lines for a couple

of moments.

SEAN

Oh, it breaks the heart.

INDY

(quietly to himself)

And the head.

(to Sean, aggrievedly)

You hit me, Dad!

SEAN

(referring to the

vase)

I’ll never forgive myself —

INDY

(surprised,

misunderstanding)

Don’t worry — I’m fine.

SEAN

Thank God!

Sean has clearly been concentrating entirely on the vase…

he is examining the broken end carefully.

SEAN

…it’s a fake Ikea knockoff. See, you can tell by

the cross section.

Sean throws the vase against the wall where it SHATTERS.

INDY

No! Dad, get your stuff. We’ve got

to get out of here.

SEAN

Well, I am sorry about your head,

though. But I thought you were one

of them.

INDY

Dad, they come in through the doors.

SEAN

(laughs)

Good point.

Indy steps to the door and stands, listening.

SEAN

But better safe than sorry.

Sean slides his umbrella through the straps of his bag.

SEAN

Humpf — so I was wrong this time.

But by God, I wasn’t wrong when I

mailed you my Notebook. You obviously

got it.

INDY

I got it and I used it. We found the

entrance to the catacombs.

SEAN

(excited)

Through the library?

INDY

Right.

SEAN

I knew it. And Orwell’s manuscript?

Indy nods.

INDY

Found it.

SEAN

(breathless)

He was actually there? You saw it?

INDY

Well, what was left of it.

SEAN

(trembling with

anticipation)

And his annotations… his margin notes…?

INDY

Cass Ander.

(beat)

It’s a great moment in Sean’s life.

He turns aside, lost to himself for

a moment, then turns to Indy with

joy.

SEAN

Cass Ander… of course… on the

political moment in Eastern Europe.

Oh, Junior…

Indy winces, and would interrupt but suddenly it’s not the

moment.

SEAN

…you did it.

INDY

No, Dad. You did. Forty years.

SEAN

If only I could have been with you.

INDY

There were rats, Dad.

SEAN

Rats?

INDY

Yeah, big ones. What do the Soldiers

want with you Dad?

SEAN

They want my notebook.

INDY

(interested)

Yeah?

Indy’s interest is a moment which becomes important later

but for now it passes.

SEAN

I knew I had to get that book as far

away from me as I possibly could.

Indy’s hand moves unconsciously to his pocket. His eyes turn

inward.

INDY

(thoughtfully)

Yeah…

Then… BAM! The door is kicked open and three SOLDIERS enter.

One is an OFFICER. The other two are SOLDIERS with

machine guns. Sean and Indy raise their hands.

OFFICER

Professor Ref2!!

SEAN & INDY

Yes!!

OFFICER

I will take the notebook now.

INDY & SEAN

(simultaneously)

What notebook?

OFFICER

(to Indy)

You have the book in your pocket.

Sean laughs genuinely, believing himself to be laughing at

the expense of the Officer.

SEAN

Do you think that my son would be

that stupid that he would bring my

Notebook all the way back here?

At which point an awful thought strikes Sean.

SEAN

You didn’t, did you?

(a beat)

You didn’t bring it, did you?

INDY

Well, uh…

SEAN

You did!!

INDY

Look, can we discuss this later?

SEAN

I should have mailed it to Boris

Johnson.

INDY

(overlapping)

Will you take it easy!

SEAN

Take it easy?! Why do you think I

sent it home in the first place?

(points towards the

Soldiers)

So it wouldn’t fall into their hands!!

INDY

I came here to save you.

SEAN

Oh yeah? And who’s gonna come to

save you, Junior??

Indy’s eyes blazes. His nostrils flares. He’s so pissed off,

he literally RIPS A MACHINE GUN from the hands of one of the

startled soldiers… and for a moment we think he’s going to

use it on his dad.

INDY

I told you —

He turns and sprays the room with machine gun fire, cutting

all three Soldiers to ribbons and blowing them backwards across

the room.

INDY

Don’t call me Junior!

Sean looks shocked and horrified.

SEAN

Look what you did!!

Indy grabs him and pushes him ahead.

SEAN

(aghast)

I can’t believe what you just…

INT. CASTLE HALLWAY – DAY

Indy leads Sean down the hallway as he searches for Elsa.

 

INDY

Elsa? Elsa?

He opens a door and enters:

INT. FIRST CASTLE ROOM – DAY

Indy and Sean rush back into the room where Elsa had been

left, only to find: A COLONEL HOLDING ELSA HOSTAGE.

His name is Vogel: a vicious-looking, lantern jawed brute.

One arm is wrapped around Elsa’s waist, the other hand presses

the muzzle of a PISTOL behind her ear.

VOGEL

That’s far enough Put down the gun,

Professor Ref2. Put down the gun or

the Lady dies.

SEAN

But she’s one of them!

ELSA

Indy, please!

SEAN

She’s a Eurofanatic!

INDY

What?!

Indy is thrown. He doesn’t know what to do. He looks at Elsa,

then back to his father. Everyone is yelling at once:

SEAN

Trust me!

ELSA

Indy, no!

VOGEL

I will kill her!

SEAN

Oh yeah? Go ahead!

INDY

No! Don’t Shoot!

SEAN

(to Indy)

Don’t worry. He won’t.

ELSA

Indy, please! Do what he says!

SEAN

And don’t listen to her!

VOGEL

Enough! She dies!

Vogel jams the barrel of the Pistol painfully into Elsa’s

neck. Elsa SCREAMS.

INDY

Wait! Wait!

And then Indy gives in. He drops the machine gun to the table

and it slides across, SHATTERING GLASS. Sean GROANS audibly.

Vogel releases his grip on Elsa and shoves her toward Indy.

She is propelled directly into his arms. He holds her tightly.

She buries her face in his chest.

ELSA

I’m sorry.

Indy comforts her.

INDY

No, don’t be.

Her hand slips into his coat pocket and removes theNotebook.

ELSA

But you should have listened to your

father.

She steps back next to Vogel. Indy is stunned. Sean gives

him his most withering look of reprimand.

INT. BARONIAL ROOM – DAY

A large baronial room decorated with ancient tapestries and

suits of armour. Firelight — from the giant fireplace —

dances across the ceiling and walls.

Indy and Sean are ushered in, hands tied behind back,

accompanied by Vogel and Elsa and TWO GUARDS.

Elsa crosses the room toward a high-backed chair facing the

fireplace. Indy and Sean do not have the advantage of seeing

who is sitting in that chair. They only see a HAND REACH OUT

AND TAKE THE NOTEBOOK.

INDY

(quietly to Sean)

She ransacked her own room and I

fell for it. How did you know she

was a Eurofanatic?

SEAN

Umh?

INDY

How did you she was a Eurofanatic?

SEAN

She talks in her sleep.

Indy nods, and then the statement catches up with him. He

looks at Sean with surprise.

SEAN

I didn’t trust her. Why did you?

MAN IN CHAIR

Because he didn’t take my advice.

The MAN IN THE CHAIR gets to his feet and turns, revealing

himself to be… Walter Donovan. Indy and Sean react with

stunned expressions.

INDY

DONOVAN!

DONOVAN

Didn’t I warn you not to trust

anybody, Professor Ref2?

Donovan smiles benignly and flips through the Notebook.

SEAN

I misjudged you Walter — I knew

you’d sell your mother for a Euro

But I didn’t know you’d sell

your country and your soul to the

slime of humanity.

DONOVAN

(suddenly erupting)

Doctor Sean. There’re pages

torn out of this!

Elsa rushes to Donovan’s side. She takes the Notebook

from him. Elsa takes a look for herself — then glances up

at Indy.

ELSA

This book contained a diagram — a diagram

with no names — precise instructions

on how to turn democracies into

meritocracies.

 

INDY

So it did.

DONOVAN

Where are these missing pages? This

Diagram. We must have these pages back.

Sean gives Indy a look of surprise. Indy smirks.

ELSA

(to Donovan)

You’re wasting your breath. He won’t

tell us. And he doesn’t have to…

it’s perfectly obvious where the

pages are…

(looking at Indy)

…he’s given them to Marcus Brody.

Sean now wears a pained expression.

SEAN

(to Indy)

Marcus?! You didn’t drag poor Marcus

along, did you? He’s not up to the

challenge.

DONOVAN

He sticks out like a sore thumb.

We’ll find him.

INDY

The hell you will. He’s got a two-

day head-start on you, which is more

than he needs.

(beat)

Brody’s got friends in every town

and village from here to the United Kingdom.

He speaks a dozen languages, knows

every local custom. He’ll blend in.

Disappear. You’ll never see him again.

With any luck, he’s got there

already.

Sean looks amazed and impressed.

EXT. TRAIN STATION – CITY OF VIENNA – DAY

Brody disembarks from the train along with the other

PASSENGERS, a cross-section of EUROPEANS, ARABS and TURKS.

BRODY

Does anyone here speak English? Or

even ancient Greek?

A Man in the crowd holds out a newspaper to Brody.

BRODY

No paper, no thank you. No, it’s full of

fake news, I’m sure of it.

Brody continues through the crowd past various STALLS.

A Woman holds a wiener out to him.

BRODY

Thank you so much. No, I don’t like

that. No, I really don’t want… No,

no, thank you very much. No, thank

you, madam. I’m a vegetarian.

The Woman turns away, leaving Brody alone.

BRODY

Does anyone understand a word I’m

saying here?

Sallah shoulders his way through the mob toward Brody.

SALLAH

Mister Brody!

They meet and hug, then begin to walk.

BRODY

Oh, Sallah! What a relief!

SALLAH

(laughs)

Marcus Brody, sir. And where is Indy?

BRODY

(overlapping)

Oh, he’s in Germany. A slight detour.

SALLAH

You are on your own?

A Woman runs in and tugs on Brody’s coat. He waves her away.

BRODY

Yes, but don’t panic. Everything’s

under control. Have you… have you

arranged our supplies?

SALLAH

Oh, yes, of course. But where are we

going?

BRODY

Oh, I’ll show you. It was

drawn by, uh…

Brody searches in his coat pocket for the map as a SINISTER

MAN approaches.

SINISTER MAN

Mister Brody?

Brody puts the map back in his pocket. The Sinister Man clicks

his heels and bows quickly.

SINISTER MAN

Welcome to Vienna. The Director

of the Political Institute has

sent a car for you.

Brody takes off his hat.

BRODY

Oh, what?… your servant, sir.

SALLAH

And I am his.

SINISTER MAN

Follow me, please.

The man turns and joins a SECOND MAN. Brody and Sallah follow

them.

BRODY

My reputation precedes me.

SALLAH

There is no political institute in Vienna.

The Second Man overhears Sallah. He and his companion turn

quickly.

SECOND MAN

Papers please.

SALLAH

Papers?

(laughs)

Of course.

Sallah puts Brody’s luggage down and glances at Brody.

SALLAH

Run.

Brody does not run. Sallah pats his clothing, searching for

his papers.

BRODY

Yes.

SALLAH

Papers, sir. Got it here.

Sallah laughs and pulls out a newspaper.

SALLAH

Just finished reading it myself.

(laughs; then, to

Brody)

Run!

Brody looks confused. Sallah shows the newspaper to the Second

Man.

BRODY

Yes.

SALLAH

Sud Deutschland Zeitung. Morning edition.

(to Brody)

Run!

BRODY

Did you say…? Uh, uh…

Sallah puts the newspaper in front of the Second Man’s face,

then punches him through the newspaper.

SALLAH

Run!

The Second Man falls, knocking over a vendor’s stand. Sallah

and Brody begin to run. Sallah knocks the First Man into

another vendor’s stand. The STAND COLLAPSES on impact.

Sallah grabs Brody and pulls him through the crowded streets.

SALLAH

(to Brody; pointing)

Okay, okay, quick, quick, quick!

Hide in that door! Hide in that door!

Sallah points to a DARKENED DOORWAY, hung with a curtain, at

the top of a ramp. Brody runs up the ramp, throws back the

curtain and disappears into the darkness.

Then — METAL DOORS ARE SLAMMED behind Brody and we realize

that he has run into the back of a POLICE VAN.

Sallah runs after the Van until he reaches a wall, then

leans against the wall dejectedly as the Van drives away

with Brody inside.

 

INT. CASTLE ROOM – DAY

The room is dark. Ancient, floor-length drapes cover the

windows. A HUGE FIREPLACE that’s nearly large enough for a

man to stand upright in dominates one wall.

The Guards have tied Indy and Sean back-to-back in a

pair of chairs. Elsa and Donovan stand over them. Vogel

enters.

SEAN

Intolerable.

VOGEL

Doctor Goebbels. Message from Berlin.

You must return immediately: a rally

at the Institute of European Culture.

ELSA

So?

VOGEL

Your presence on the platform is

requested… at the highest level.

ELSA

Thank you.

(to Donovan)

I will meet you in England.

DONOVAN

Take this Notebook to the Planning Centre

in Berlin. It will show them our

progress, ahead of schedule. Without

a diagram, I’m afraid it’s no better

than a souvenir.

He hands her the Notebook.

VOGEL

(to Donovan, meaning

Indy and Sean)

Let me kill them now.

ELSA

No. If we fail to recover the pages

from Brody, we’ll need them alive.

DONOVAN

(to Vogel, with a

helpless shrug)

Always do what the doctor orders.

Donovan leads Vogel out. The Guards follow. Once they

are gone, Elsa turns to Indy.

ELSA

Don’t look at me like that — we

both wanted the Manuscript, I would have

done anything to get it. You would

have done the same.

Indy shakes his head “no.”

INDY

I’m sorry you think so.

She runs her hand down the side of his face. Indy pulls away.

Indy and Sean are still tied back-to-back of course. Elsa

bends to speak quietly into Indy’s ear… which is near enough

to Sean’s ear.

ELSA

(whispers)

I can’t forget… how wonderful it was.

SEAN

Thank you. It was rather wonderful.

She smiles and kisses Indy passionately. Sean glances back

and looks rather disappointed.

Vogel appears to remind Elsa of her appointment.

VOGEL

Doctor Goebbels! Your car is waiting.

ELSA

(to Indy, after

finishing the kiss)

That’s how Austrians say goodbye.

Elsa exits. Vogel stays behind for another moment.

VOGEL

And this is how we say goodbye in

Germany, Professor Ref2.

Vogel punches Indy in the jaw. A hard and vicious jab that

snaps Indy’s head around.

SEAN

Ohh…

Vogel exits. Indy shakes his head clear.

INDY

(to himself)

Ooooh… I like the Austrian way

better.

SEAN

So did I.

INDY

Let’s try and get these ropes loose.

We’ve got to get to Marcus before

the Eurofanatics do!

SEAN

(confused)

You said he had two days’ start.

That he would blend in. Disappear!

INDY

Are you kidding? — I made that up!

You know Marcus — he got lost once

in his own house!

Indy and Sean are pulling at the ropes with great urgency.

INDY

Can you try and reach into my left

jacket pocket?

Sean is able to wiggle his hand towards Indy’s coat pocket.

Indy squirms his body around towards Sean’s hand.

SEAN

What am I looking for?

INDY

My lucky charm.

SEAN

Feels like a cigarette lighter.

INDY

Try and burn through the ropes.

Sean’s fingers open the lighter and ignite the flame.

SEAN

Very good.

Sean yelps as the cigarette lighter burns his hand. He drops

the lighter to the floor. Sean kicks at the lighter, trying

to reach it but cannot. The rug starts to burn. Indy doesn’t

know it yet.

SEAN

I ought to tell you something.

INDY

Don’t get sentimental now Dad —

save it ’til we get out of here.

SEAN

The floor’s on fire! See?!

INDY

(turns and sees)

What???

SEAN

And the chair.

INDY

All right, move! Move! Rock your

Chair. Do what I do.

They begin to rock their chair legs, inching their way off

the burning carpet.

EXT. CASTLE – DAY

As Elsa is driven away. Vogel and Donovan remain behind,

flanked by SOLDIERS.

Another car pulls up and Vogel holds the door open for Donovan

who gets into the rear seat. A LIEUTENANT approaches with a

written message for Donovan.

LIEUTENANT

Etwas Wichtiges, mein Herr.

Donovan puts on his glasses to read the message.

DONOVAN

Well, we have Marcus Brody. But more

important, we have the diagram.

A SOLDIER steps forward with yet another written

message for Donovan.

SOLDIER

Aus Berlin, mein Herr.

DONOVAN

(reading)

“Secrecy essential to success.

Eliminate the British conspirators.”

(to Vogel)

Europe has declared war on the Ref2.

(to DRIVER)

Losfahren.

The car drives off.

INT. CASTLE ROOM – DAY

Indy and Sean are still in their chairs, tied back-to-back.

Indy tries to communicate with Sean, but each time he calls

him, the men turn their heads in opposite directions.

INDY

Dad!

SEAN

What?

INDY

Dad!

SEAN

What?

INDY

Dad!

Finally, they turn their heads in the same direction.

SEAN

What?

INDY

Head for the fireplace!

SEAN

Oh.

BANGING, ROCKING and HOPPING their chairs, they work their

way INTO THE FIREPLACE — the only safe place from the now

ROARING FIRE.

INDY

I think I can get these ropes off.

Indy struggles to free his hands. His foot kicks out and

accidentally hits a metal grill that operates a Secret Door.

INDY

Whoops!

The fireplace floor rotates like a Lazy Susan and Indy and

his father find themselves in the:

INT. CONTROL ROOM – DAY

Where a COMPUTER OPERATOR wearing headphones sits at an elaborate

display with multiple screens and keyboards. A WOMAN stands over

an interactive map plotting coordinates. Their backs are turned to Indy

and Sean.

The floor begins to rotate again, and Indy and Sean find

themselves back in:

INT. CASTLE ROOM – DAY

inside the fireplace, still tied back-to-back.

SEAN

Our situation has not improved.

Indy glances over his shoulder at Sean.

INDY

Listen Dad… I’m almost free.

Indy’s foot hits the grill again… and the fireplace rotates

to:

INT. CONTROL ROOM – DAY

FOUR COMPUTER OPERATORS and the Woman are still hard at work at

consoles and coordinates. Suddenly the Woman looks up and

spots Sean and Indy. She screams.

WOMAN

Alarm!

Now the Computer Operators turn to see Sean and Indy.

WOMAN

Schnell!!

TWO OPERATORS draw their pistols and FIRE SEVERAL SHOTS at

Indy and Sean

INT. CASTLE ROOM – DAWN

Indy and Sean rotate into the room which is now an INFERNO.

The carpet, drapes and furniture are all ablaze.

SEAN

This is intolerable!

INDY

I’m out, Dad!

Indy finally breaks free. And he immediately begins to untie

his father.

SEAN

Well done, boy!

INT. CONTROL ROOM – DAY

All four Operators now have their guns drawn. They activate

the lever and begin to rotate through the Secret Door.

INT. CASTLE ROOM – DAY

The Operators appear in the fireplace on the other side —

but there is NO SIGN OF Indy and Sean.

The Operators move cautiously toward the flame, shielding

their faces with one hand, holding their guns with the other.

Is it possible that Indy and Sean escaped through these

flames?

Not a chance.

They’ve hidden themselves UP THE CHIMNEY. And now they DROP

DOWN, BEHIND the Operators.

One of the Operators grabs Indy by the neck. As they struggle

they fall against the rotating wall and disappear into the

next room, leaving a frightened Sean behind.

Sean presses against the wall, which rotates again. As he

disappears into the next room, a DEAD OPERATOR swivels

into the room. The other Operators rush forward to him.

INT. CONTROL ROOM – DAY

Indy picks up a BUST OF HITLER and uses it to jam the rotating

wall in place, sealing the Nazis inside the burning room.

INT. CASTLE HALLWAY – DAY

Vogel strides purposefully down the hallway. He BARKS an

order, and TWO MORE SOLDIERS fall into step with him.

INT. CONTROL ROOM – DAY

Indy grabs his whip, his leather sack and Sean’s case from

a table. He hands the case to Sean and they begin to run.

INDY

Come on Dad.

INT. SECRET ROOM – DAY

Indy and Sean step into an empty room.

INDY

Dead end.

Sean looks horrified by what he’s been forced to do as Indy

searches frantically for an exit.

INDY

There’s got to be a… a secret door

around. A passageway or something.

Indy begins to run his hands over the walls — frantic.

SEAN

I find that if I just sit down and

think…

Sean sits on a chair which tips back, hitting the wall behind

  1. The floor at Indy’s feet suddenly begins DROPPING AWAY!

Indy grabs a railing to keep from falling, but loses his

grip and plunges through the opening which has formed a SPIRAL

STAIRCASE. He rolls down the stairs.

INDY

Dad!

SEAN

…the solution presents itself.

Sean follows Indy down the staircase.

INT. CAVERN / UNDERGROUND HARBOR – DAY

The stairway deposits Indy and Sean into an enormous WATERY

CAVERN beneath the mountain on which the castle was built.

A full-scale BOAT DOCK has been built inside the cavern.

We see MOTORBOATS, GUNBOATS, SUPPLY BOATS, etc.

INDY

Great. More boats.

Indy boards one of the motorboats and STARTS THE MOTOR.

SEAN

Would you say this has been just

another typical day for you? Huh?

Sean tosses his case at Indy who catches it and angrily

throws it back to his father.

INDY

(ironically)

Ooof! No! It’s been better than most.

Indy moves back to the dock and pushes the boat away. Sean

looks confused.

INDY

Come on, Dad. Come on!

SEAN

What about the boat? We’re not going

on the boat?

INT. SECRET ROOM – DAY

Vogel and the Soldiers enter the room and spot the spiral

staircase leading below. They quickly descend the stairs.

INT. CAVERN / UNDERGROUND HARBOR – DAY

As Vogel and the Soldiers rush to the dock. Vogel sees

that a motorboat is missing. He orders the Soldiers

into a boat.

VOGEL

Sie alle ins Boat. Schnell!

 

To be continued…

All characters appearing in this work are fictitious.

Any resemblance to real persons, living or dead, is purely coincidental.

 

You can contact the author at:

[email protected]

 

 

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