"RAIDERS OF THE LOST ARK"

"RAIDERS OF THE LOST ARK"

Screenplay by

Lawrence Kasdan

Story by

George Lucas



FADE IN:

EXT. PERU - HIGH JUNGLE - DAY

The dense, lush rain forests of the eastern slopes of the
Andes, the place known as "The Eyebrow of the Jungle". Ragged,
jutting canyon walls are half-hidden by the thick mists.

The MAIN TITLE is followed by this:

PERU
1936

A narrow trail across the green face of the canyon. A group
of men make their way along it. At the head of the party is
an American, INDIANA JONES. He wears a short leather jacket,
a flapped holster, and a brimmed felt hat with a weird feather
stuck in the band. Behind him come two Spanish Peruvians,
SATIPO and BARRANCA. Bringing up the rear are five Yagua
INDIANS. They act as porters and are wrangling the two heavily-
packed llamas. The Indians become increasingly nervous. They
speak to each other in bursts of Quechua. The American, who
is known to his friends as Indy, glances back at them.

BARRANCA
(irritated)
They're talking about the Curse again!

He turns and yells at the Indians in Quechua, his anger giving
an indication of his own fears. The party reaches a break in
the canyon wall and takes the trail through it.

When they emerge, their destination is revealed to them in
the distance. Beyond a thick stand of trees is the vegetation-
enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS.

The entire party is struck by the sight. The Indians,
terrified now, chatter away. Suddenly the three at the back
turn and run, dropping their packs as they go. Barranca yells
at the fleeing Indians and pulls his pistol out. He starts
to raise his arm to aim but Indy restrains it in a muscular
grip.

INDY
No.

Barranca looks evilly at Indy's hand upon him. Indy releases
him and smiles in a friendly way.

INDY
We don't need them.

Satipo watches this confrontation with some concern.

BARRANCA
I do not carry supplies.

INDY
We'll leave them. Once we've got it,
we'll be able to reach the plane by
dusk.

He turns back to the trail. Satipo gets the two remaining
Indians moving behind Indy. Satipo and Barranca then have a
fast, silent communication: Barranca indicates his desire to
slit Indy's throat; Satipo gives him a look that says "Be
patient, you idiot".

THE APPROACH TO THE TEMPLE

The party fans out to fight their way through the entwined
trees that guard the temple. Visibility is cut to five feet
in the heavy mist. Satipo extracts a short, native dart from
a tree and examines the point gingerly

SATIPO
(showing Indy)
The Hovitos are near. The poison is
still fresh... three days. They're
following us, I tell you.

INDY
If they knew we were here, they would
have killed us already.

The two Indiana jabber in Quechua, near hysteria. Barranca
is sweating profusely, eyes darting. He yells at the Indians
in Quechua to "shut up".

In the undergrowth, there is slithering movement.

Indian #1 draws aside a branch and is faced with a horrific
stone sculpture of a Chachapoyan demon. The Indian is so
frightened no sound comes out when he screams. He turns and
runs silently away.

Indian #2 calls to his friend. Getting no response, he steps
in that direction. A huge macaw, flushed from the undergrowth,
screams and flies away. Indian #2 does exactly the same thing,
never to be seen again.

Indy, Satipo and Barranca, just clearing the trees, look
back in that direction. They all turn to face the Temple.

It is dark and awesome. Vegetation curls from every crevice,
over each elaborate frieze. The entrance - round, open and
black - has been designed to look like open jaws.

INDY
So this is where Forrestal cashed
in.

SATIPO
A friend of yours?

INDY
Competitor. He was good, very good.

BARRANCA
(nervous)
No one has ever come out of there
alive. Why should we put our faith
in you?

Indy takes the weird feather from the band of his hat. From
around its point, he slips a tightly rolled piece of
parchment. Barranca and Satipo exchange a quick "So that's
where is was!" look. They all kneel as Indy spreads out the
parchment. On it is one-half of a crude floorplan of the
Temple.

INDY
No one ever had what we have...
partners.

Indy fixes them with an expectant stare. Satipo produces a
similar, but folded, piece of parchment. He lays it - the
other half of the floorplan - next to Indy's. They all regard
it for a moment, then Indy stands and walks toward the Temple.
Barranca's eyes are shining as they dart between the floorplan
and Satipo.

INDY
(back turned)
Assuming that pillar there marks the
corner and...

Barranca is suddenly on his feet, quietly drawing his pistol.
He raises it toward Indy as Satipo realizes with alarm what
he's doing. Too late. Indy's head turns and he sees Barranca.

Indy's next move is amazing, graceful and fast, yet totally
unhurried. His right hand slides up under the back of his
leather jacket and emerges grasping the handle of a neatly
curled bullwhip. With the same fluid move that brings Indy's
body around to face the Peruvian, the whip uncoils to its
full ten foot length and flashes out.

The fall of the whip (the unplaited strip at the end of the
lash) wraps itself around Barranca's hand and pistol. He
could not drop the gun now if he tried.

Indy gives the whip a short pull and Barranca's arm in jerked
down, where it involuntarily discharges the gun into the
dirt. Barranca is amazed, but feels some slack in the whip
and immediately raises the gun toward Indy again, cocking it
with his free hand.

Indy's face goes hard. And sad.

Indy sweeps his arm in a wide arc. Barranca spins around,
enclosed in the whip, his gun hand stuck tight against his
body. Indy gives one more short jerk on the whip handle and
Barranca's gun fires. Barranca falls dead.

Indy looks quickly at Satipo, who is shocked and frightened.
He raises his arms in supplication.

SATIPO
I knew nothing! He was crazy! Please!

Indy looks him over, then nods. He frees the whip from
Barranca's body and picks up the man. His eyes sweep the
surrounding woods.

INDY
Let's go.

INT. TEMPLE - INCLINED PASSAGE - DAY

Indy and Satipo, carrying a torch, walk up the slightly
inclined, tubular passage from the main entrance. The interior
is wet and dark, hanging with plant life and stalactites.
Their echoing footsteps intermittently overpower the sounds
of loud dripping, whistling air drafts and scampering claws.

HALL OF SHADOWS

Indy leads the way down a twisting hallway, Satipo's torch
barely lighting his way from behind. Indy disappears in a
shadow and when he reappears a moment later a huge black
tarantula is crawling up the back of his jacket. Indy doesn't
notice and disappears into another shadow, emerging with two
more tarantulas on his back.

Satipo sees them and makes a frightened grunting sound. Indy
looks at him, sees what he's pointing at and casually brushes
all three spiders off with his rolled whip, as he would a
fly. Satipo pirouettes for an inspection and Indy flicks one
off the Peruvian's back.

Indy begins picking up little pocket-sized artifacts from
the niches and ledges of the Temple. He continues to do this
as the men penetrate the Temple. His collecting is quick and
expert, evaluating the pieces in an instant, discarding some,
stuffing others into his clothes, and never stopping his
forward progress.

CHAMBER OF LIGHT

The men reach an arch in the hall. The small chamber ahead,
which interrupts the hall, is brightly lit by a shaft of
sunlight from high above. Indy stops, looks it over.

SATIPO
What's wrong? Are you lost?

Indy picks up a stick and throws it through the shaft of
light. Giant spikes spring together from the sides of the
chamber with a ferocious CLANG! And impaled on the spikes
are the remains of a white man, half-fleshed, half skeleton,
in explorer-type grab. Indy reaches out and takes hold of
the man's carcass. As the spikes slowly retract, Indy pulls
it free and seats the remains gently on the floor.

INDY
Forrestal.

SATIPO
(gulps)
We can go no further.

INDY
Now, Satipo, we don't want to be
discouraged by every little thing.

Indy steps sideways into the chamber. His back pressed against
the very points of the retracted spikes, he moves along the
edge of the light beam, and steps clear on the other side.
Satipo grimaces and begins sweating his way through.

STAIRWAY

Indy and Satipo come down stone stairs to a tight landing.
Framing the entry are a carefully strung network of dead
vines, each somehow hooked into the wall, narrowing the
opening even more.

INDY
(taking torch)
Let me see that.

He lowers the torch to the floor of the landing. The landing
is carpeted with human skeletons, one on top of another, all
squashed flat as cardboard. Satipo gasps. Indy looks up at
the ceiling of the landing, then steps onto skeletons, which
make a cracking noise under his feet.

INDY
Try not to touch the vines.

FOYER OF THE SANCTUARY

The men are in a high, straight hallway 50 feet long.

The door at the end is flooded with sunlight.

SATIPO
Señor, I think we are very close.

Indy stands still looking at the hall.

SATIPO
(impatient)
Let us hurry. There is nothing to
fear here.

INDY
That's what scares me.

They begin walking down the hall side by side. Satipo has
inched a little ahead. Suddenly his lead foot comes down and
through the floor! As Satipo begins to pitch forward, Indy
grabs him by the belt and pulls him back. They both look
down at the "floor".

Indy swings his whip across the floor. Fifteen feet of it
cuts open beneath the lash, falling away to reveal black pit
as wide as the hall. The illusory floor was made of dust-
covered cobwebs. Satipo picks up a stone and drops it down
the pit. No sound. The two men exchange glances. Indy looks
up at the high roof of the hall. He swings the whip up around
a support beam, tests its strength with a pull and swings
over the pit on the whip. From the other side he swings the
whip back to Satipo, who throws Indy the torch. Satipo swings
across. When they are both standing on solid floor there is
a moment of quiet in which they hear, from far, far below -
SPLASH! Indy wedges the whip handle into the wall and leaves
it strung to the beam for quick retreat.

THE SANCTUARY

A large, domed room. Ten evenly-spaced skylights send their
shafts of sunlight down to a unique tiled floor: white and
black tiles laid out in a lovely, intricate pattern. Indy
and Satipo stand at the door and look across the wide room
at the altar. There, in the supreme hallowed spot, is a tiny
jeweled figurine, Indy's real objective.

Two torches, many years old, are in holders by the door.
Indy takes one down and lights it. He gives the regular torch
to Satipo.

SATIPO
There's plenty of light, amigo.

Indy kneels and uses the unlit end of the torch to reach out
and tap a white tile. It is solid. He taps a black tile.
There is a whizzing sound and a tiny dark sticks in the torch.
Satipo points to the wall nearby: there is a recessed hole
there.

SATIPO
From that hole!

Indy nods, stands and looks around the sanctuary. The entire
room is honey-comed with the same kind of hole. Satipo sees
it too and is properly impressed.

INDY
You wait here.

SATIPO
If you insist, señor.

Torch in hand, Indy begins his careful walk across the
sanctuary. Stepping only on the white tiles, he almost appears
to be doing a martial arts kata. Before each big move he
waves the torch in front of him head to toe, looking at the
flame. Halfway out, he sees something on the floor and kneels
to look at it.

A dead bird lies on one of the white tiles. Its body is
riddled with little deadly darts. This has great significance
to Indy and he stands with even greater caution. He waves
the torch ahead of him and at waist height an air current
whips at the flame. Indy ducks under it and leaves a burn
mark on the white tile beneath it.

Satipo watches, wide-eyed and mystified.

Indy reaches the altar. The tiny idol looks both fierce and
beautiful. It rests on a pedestal of polished stone. Indy
looks the whole set-up over very carefully. From his jacket
he takes a small, canvas drawstring bad. He begins filling
it with dirt from around the case of the altar. When he has
created a weight that he thinks approximates the weight of
the idol, he bounces it a couple times in his palm
concentrating. It's clear he wants to replace the idol with
the bag as smoothly as possible. His hand seems ready to do
that once, when he stops, takes a breath and loosens his
shoulder muscles. Now he sets himself again. And makes the
switch! The idol is now in his hand, the bag on the pedestal.
For a long moment it sits there, then the polished stone
beneath the bag drops five inches. This sets off an AURAL
CHAIN REACTION of steadily increasing volume as some huge
mysterious mechanism rumbles into action deep in the temple.

Indy spins and starts his kata back across the sanctuary at
four times the speed.

Satipo's eyes widen in terror. He turns and runs.

THE RETREAT - INTERCUTTING INDY AND SATIPO

The sanctuary has begun to rumble and shake in response to
the mysterious mechanism. Just as Indy goes out the door, a
rock shakes loose from the wall and rolls onto the tiles
floor. Immediately, a noisy torrent of poison darts fills
the room.

IN THE FOYER

Satipo swings across the pit. He makes it just as the whip
comes undone from the beam, leaving Indy without an escape.
Satipo, extremely nervous, regards the whip a moment then
turns back to face Indy, who has run up to the far side of
the pit.

SATIPO
No time to argue. Throw me the idol,
I throw you the whip.

Indy hesitates, eyeing the rumbling walls.

SATIPO
You have no choice! Hurry!

Indy concurs with that assessment. He tosses the idol across
the pit to Satipo. Satipo stuffs it in the front pocket of
his jacket, gives Indy a look, then drops the whip on the
floor and runs.

SATIPO
Adios, amigo!

Indy grimaces. He had a feeling this might happen. He looks
around.

AT THE VINED LANDING

Satipo flies through like a chubby ballet dancer and takes
the steps five at a time.

IN THE FOYER

Indy runs in full stride to the edge of the pit and broad
jumps into space. He doesn't make it. His body hits the far
side of the pit and he begins to slide out of view. Only
wild clawing with his fingers at the edge of the pit stops
his descent. With just the tips of his fingers over the edge,
he begins pulling himself up.

AT THE CHAMBER OF LIGHT

Satipo has slowed down. He begins to edge carefully around
the light shaft.

AT THE VINED LANDING

Indy sails through sideways and rolls to a stop at the bottom
of the steps. His whip is grasped in his hand. As he raises
himself, he hears, from above the giant spikes of the Chamber
of Light CLANG! and an abrupt, sickening rendition of SATIPO'S
LAST SCREAM. Indy runs up the steps. The rumbling sound grows
louder.

AT THE CHAMBER OF LIGHT

Indy slides to a stop. The spikes have retracted, taking
Satipo's body to one side. Indy edges into the chamber with
his back to the shaft of light. Soon he is face to face with
the dead Satipo; spikes protrude from several vital spots in
the Peruvian's body. Indy removes the idol from Satipo's
pocket and moves quickly out the other side.

INDY
Adios.

THE INCLINED PASSAGE

Indy shoots out of a cut-off hallway and turns toward the
exit. The rumbling is very loud and now we see why: right
behind Indy a huge boulder comes roaring around a corner of
the passage, perfectly form-fitted to the passageway. It
obliterates everything before it, sending the stalactites
shooting ahead like missiles. Indy dashes for the light of
the exit. His hat flies off his head. Almost immediately it
is crushed by the boulder. Indy dives out the end of the
passage as the boulder slams to a perfect fit at the entrance,
sealing the Temple.

EXT. FRONT OF THE TEMPLE - DAY

Indy lies on the ground, gasping for air. A shadow falls
across him and he looks up.

WHAT HE SEES

Looming above him are three figures. Two are HOVITOS WARRIORS
in full battle paint and loin cloths. They carry long blow
guns. But the man in the center draws Indy's attention. He
is a tall, impressive white man, dressed in full safari outfit
including pith helmet. His name is EMILE BELLOQ. His face is
thin, powerful; his eyes hypnotic; his smile charming, yet
lethal. His heavily French-accented speech is deep,
mellifluous, wonderful. Back beyond Belloq and his two
escorts, thirty more Hovitos Warriors hover at the edge of
the trees.

BELLOQ
Dr. Jones, you choose the wrong
friends. This time it will cost you.

Belloq extends his hand. Indy looks at it, then produces the
idol and hands it to Belloq. Belloq extends his other hand,
smiling. Indy hands over his gun. Belloq sticks it in his
jacket.

BELLOQ
And you thought I'd given up.

INDY
(eyeing the Hovitos)
Too bad they don't know you like I
do, Belloq.

BELLOQ
(smiles)
Yes, too bad. You could warn them...
if only you spoke Hovitos.

With that, Belloq turns dramatically and holds the idol high
for all the Hovitos to see and says something in Hovitos.
There is a murmur of recognition and all the Indians,
including Belloq's escorts, prostrate themselves upon the
ground, heads down.

Indy is immediately up and running toward the edge of the
clearing.

BELLOQ
(in Hovitos)
Kill him!

AT THE EDGE OF THE CLEARING

Indy disappears into the foliage. An instant later, the leaves
are peppered with a rain of poison darts and spears.

EXT. THE JUNGLE - INDY'S RUN - VARIOUS SHOTS - DAY

Indy runs like hell through steadily falling terrain. And
always close behind, a swift gang of angry Hovitos.
Occasionally they get close enough to send a dart or spear
whizzing past Indy's head.

EXT. THE URUBAMBA RIVER - DUSK

An amphibian plane sits in the water beneath a green cliff.
Sitting on the wing is JOCK, the British pilot. Indy breaks
out of some distant brush and runs along the path at the top
of the cliff.

INDY
(yelling)
Get it going! Get it going!

Jock hops in and fires up the plane's engines. Indy reaches
a spot on the cliff above the place, glances back, them jumps
into the river. He comes up, swims to the plane and grabs a
strut.

INDY
GO!

Jock starts the plane moving across the water as Indy walks
across the wing and falls into the passenger compartment.

INT. JOCK'S PLANE - DUSK

Indy relaxes and lies across the seat, a big smile on his
face. One hand drops to the floor of the cabin and Indy jumps,
hitting his head. On the floor of the cabin is a huge boa
constrictor. Indy tries to get his whole body onto the seat.
Jock sees what's happening.

JOCK
Don't mind him. That's Reggie.
Wouldn't hurt a soul.

INDY
I can't stand snakes.

JOCK
The world's full of them, you know.

INDY
I hate them.

JOCK
Come on now, Sport, show a little of
the old backbone.

EXT. JOCK'S PLANE - TWILIGHT

It soars off over the dark jungle.

INT. INDY'S OFFICE, SMALL EASTERN COLLEGE - DAY

It's autumn and the pretty, New England campus out Indy's
window reflects it in dazzling color. A few weeks before the
start of classes. Activity just picking up. Some students
about.

Indy is at a bookcase near the window and he looks quite
different in this setting. His outfit is tweedy, slightly
rumpled in the professional style. Part of his attention is
focused in a book and he wears glasses to see the fine print.
The office is cramped, absolutely inundated with books, maps,
etchings and archeological artifacts. In fact, the only neat
spot in the room right now is Indy's desk, which has been
cleared off expressly for the benefit of -

MARCUS BRODY

The Curator of the National Museum in Washington, D.C. Brody
is examining the small artifacts Indy pocketed on his way
into the Peruvian Temple. He occasionally uses a jeweler's
eyepiece to get a closer look. But he is distracted, his
concerns elsewhere, and it is this that his old friend Indy
senses from across the room.

BRODY
Do you think the idol will ever show
up?

INDY
I don't know. Just because Belloq
had it doesn't mean he kept it.

Indy snaps the book closed and puts it on the shelf. He takes
his glasses off and focuses on Brody. At the windowed door
to his office, two pretty Coeds pause for a moment, look in
at their sexy Archeology professor, giggle and disappear.

INDY
Getting it away from those Indians
would be a neat trick
(a hard look)
I hope they got him.

A young male graduate student, Indy's TEACHING ASSISTANT,
taps on the door and then pushes his way in with an armload
of reference books. Indy helps him find a spot for them.

TEACHING ASSISTANT
I couldn't get the McNabe, Professor.
Someone's got it checked out 'til
next month when classes start.

INDY
That's all right, Phil. Thanks a
lot.

TEACHING ASSISTANT
(eager to please)
Will there be anything else?

INDY
No. I'll see you Thursday.

The Teaching Assistant leaves. Brody is scowling as he
examines the last of the artifacts.

INDY
Hey, if you don't like them, I can
always return them.

BRODY
No, they're beautiful. The Museum
will buy them as usual. No questions
asked.

INDY
Then what's wrong?

BRODY
I brought along some people today.

INDY
What kind of people?

BRODY
Government.

INDY
(concerned)
Government?

BRODY
Don't worry, it's not about your
business.
(indicates the
artifacts)
They're from the Army.

INDY
I've already served.

BRODY
Army Intelligence. They're looking
for Abner.

INT. INDY'S LECTURE HALL / CLASSROOM - DAY

Indy's course - a combination of archeology and anthropology -
is taught in this amphitheater-type lecture hall. His desk
and lectern hold large reference books; blackboards line the
wall. Bones, maps, charts festoon the walls.

Indy leans against his desk talking with Brody and two
uniformed Army officers, COLONEL MUSGROVE and MAJOR EATON,
who are situated around the first seats in the classroom.

MUSGROVE
But you did study under Professor
Ravenwood at the University of
Chicago?

INDY
(nods)
We haven't spoken in ten years. I'm
afraid we had a bit of a falling
out.

EATON
You know nothing of his whereabouts?

INDY
(negative)
Just rumors. Somewhere in Asia, last
I heard.

Musgrove and Eaton exchange a look; they're disappointed.

EATON
(to Musgrove)
Maybe Dr. Jones can make sense of
it.

Again the military men have a silent communication, deciding
what to reveal.

MUSGROVE
Well... you must understand, Dr.
Jones, this is all strictly
confidential.

INDY
I understand.

MUSGROVE
Yesterday, one of our European
sections intercepted a Nazi communiqué
from Cairo to Berlin. We don't quite
know what to make of it.

Musgrove takes a sheet from his briefcase.

MUSGROVE
Here it is - "Tanis development
proceeding. Acquire headpiece, Staff
of Ra, General Tengtu Hok, Shanghai.
Locate Abner Ravenwood, U.S."

Brody is excited. He looks at Indy.

BRODY
Tanis. They must have discovered the
lost ruins.

Indy contemplates this big news; he's impressed.

INDY
(to himself)
Tanis. Ain't that somethin'!

EATON
Frankly, we're a little suspicious...
An American being mentioned so
prominently in a secret Nazi cable.

INDY
Ah, Ravenwood's no Nazi.

EATON
Then what do they want him for?

INDY
They're looking for the headpiece to
the Staff of Ra.

MUSGROVE
(indicates his sheet)
But it says here that's in China.

INDY
Only half of it. Ravenwood had the
other half.

EATON
What would the Nazis want with this -
this Staff of Ra?

BRODY
I can tell you that. Over the last
two years the Nazis have had teams
of archeologists running around the
world looking for all kinds of
religious artifacts.

MUSGROVE
That's right. Hitler's a nut on the
subject. Crazy. He's obsessed with
the occult.

EATON
What is this Staff of Ra, anyway?

INDY
It all has to do with the Ark of the
Covenant.
(the Army guys look
mystified)
The chest the Hebrews used to carry
around the Ten Commandments.

Now it's the Army men who are impressed.

INDY
An Egyptian pharaoh stole the Ark
from Jerusalem and took it back to
the city of Tanis. A short time later,
Tanis was consumed by the desert in
a sandstorm that lasted a year. But
before that, the Pharaoh had had the
Ark hidden away in a secret chamber
called the Well of the Souls. Which
is where the Staff of Ra comes in.

Indy moves to the blackboard and makes a quick sketch to
give a rough idea of the system as he describes it. (and we
get a glimpse of what an interesting and enthusiastic teacher
he must be).

INDY
Now this was rather clever. The Staff
was really just a big stick - oh, I
don't know, say like this -
(he indicates about
six feet)
no one really knows for sure. Any
way, it was capped by an elaborate
headpiece with a carving of the sun
at the top. What you had to do was
take the Staff to a special map room
in Tanis - it had the whole city
laid out in miniature on the floor.
When you placed the Staff in a certain
spot in this room, at a certain time
of day, the sun would shine through
a hole here in the headpiece and
then send a beam of light down here -
to the map - giving you the location
of the Well of the Souls...

MUSGROVE
...where the Ark of the Covenant was
kept.

INDY
(nods)
Which is probably what the Nazis are
after.

EATON
What's this Ark look like?

INDY
Look like? Why, it's right here...

Indy pulls a big format book from the stack on his lectern
and flips through the pages until he finds a large color
print. The other men gather to look.

THE PRINT

Fills the screen.

It shows a Biblical battle. The Israelite Army is vanquishing
an opposition force. At the forefront of the Israelite ranks,
two men carry the Ark of the Covenant, a beautiful gold chest,
crowned by two sculptured gold angels. The men do not touch
the Ark itself; rather they carry it by use of two long wooden
poles which pass through rings in the corners of the Ark.
The painting is very dramatic, full of smoke, tumult and
sinewy dying men. But the most astounding thing in the picture
is the brilliant jet of white light and flame issuing from
the wings of the angels. It pierces deep into the ranks of
the retreating enemy, wreaking devastation and terror.

EATON
Good God!

INDY
Yes. That's what the Hebrews thought.

MUSGROVE
What's that supposed to be coming
out of there?

INDY
Who knows... lightning... fire...
the power of God.

EATON
I'm beginning to understand Hitler's
interest in this thing.

INDY
Oh yes. The Bible tells of it leveling
mountains and wasting entire regions.
Moses promised that when the Ark was
with you, "your enemies will be
scattered and your foes fell before
you".
(pause)
An army which carries the Ark before
it is invincible.

Eaton and Musgrove exchange worried looks.

INDY
Oh, there's one other thing that
Hitler undoubtably believes about
the Ark...
(a long pregnant pause)
It's said that the Lost Ark will be
recovered at the time of the coming
of the True Messiah.

MUSGROVE
Dr. Jones, you've been very helpful.
I hope we can call on you again if
we have questions.

INDY
Most certainly.

Brody and Indy exchange a look as they all shake and Brody
starts to leave with the Army men.

EXT. FRONT DOOR, INDY'S HOUSE - NIGHT

Indy's English Tudor, upper middle class home. Quite toney;
well beyond the financial reach of an honest college
professor. Marcus Brody has already rung the bell. Indy opens
the door. He is dressed in a tuxedo.

BRODY
I've got to talk to you.

INDY
This isn't really a good time.

BRODY
Indy, it's important.

INDY
All right. Come on in.

INT. FOYER, INDY'S HOUSE

The lush tone continues here in Art Deco and shiny marble.
Indy motions Brody toward the study to one side.

INDY
I'll be in a minute.

As Brody passes the entrance to the expansive living room,
he spots a beautiful, silk-gowned Harlow-type lounging on
the sofa in front of a roaring fire. She is sipping champagne.

INT. STUDY, INDY'S HOUSE

Brody enters the book-lined, dark-wooded study. He paces for
a moment before the fire which is dying in the fireplace,
then spots something and goes over to Indy's big desk. The
surface is covered with open books, monographs, maps and
drawings - all about the Ark of the Covenant. Brody smiles;
he knows his friend very well. Indy comes in, closing the
door behind him. Brody turns to him with a triumphant
expression.

BRODY
They want you to go for it. And
they'll pay.

INDY
(smiles)
Good work, Marcus. I had a feeling
this would happen. And, of course,
the Museum gets the Ark when we're
done.

BRODY
(smiles)
Of course.

Indy's manner is vigorous, aggressive.

INDY
Okay, here's the way it's gonna be.
First, I'll high-tail it to Shanghai
and get the piece from General Hok.
Then I think I know where I can find
Ravenwood. If only I can get -

BRODY
General Hok's a tough customer. They
don't call him the Wild Boar for
nothing. And he's tied in with the
Japanese.

INDY
I'll worry about that when the time
comes. My only hope is to find the
Well of the Souls before the Nazis
do.

WIPE TO:

EXT. IN THE AIR - DAY / NIGHT

A Pan Am Clipper flies west over the Pacific.

WIPE TO:

INT. KEHOE'S CAR (SHANGHAI AIRPORT) - DAY

Indy is barely into the front seat of a dilapidated Ford as
the driver, BUZZ KEHOE, is peeling out into traffic. In the
back seat is a Chinese named BANG CHOW. Kehoe zigs crazily
through traffic with only his left hand as he reaches over
to shake with Indy.

KEHOE
Buzz Kehoe, Army Intelligence. You've
met Bang Chow.

INDY
What's the hurry?

KEHOE
Some German agents got here two hours
ago. Luckily, Bang was able to have
them detained at Customs. We'll have
to hurry.

EXT. HOK'S STREET - DAY

Kehoe's car emerges from an alley. Down the block is Tengtu
Hok's modest, walled palace. Kehoe's car slows a bit and
Bang steps from the moving car with a small black suitcase
in his hand. While he heads down the street toward Hok's
place, Kehoe's car continues across the street and into an
alley on the other side.

EXT. HOK'S STREET - IN FRONT OF PALACE - DAY

A Mercedes limousine appears round a corner and squeals to a
stop at the front gate of the palace, which is manned by a
sturdy Chinese Gateman. There are three Germans inside, one
the driver.

EXT. ALLEY BEHIND HOK'S MUSEUM - DAY

Kehoe, alone now, pushes a trash container casually into
position to hide a newly created hole in the rear wall of
Hok's Museum where several stone blocks have been removed.
He looks around and ambles back to the car.

INT. HOK'S PALACE - ENTRY HALL

The three Germans wait impatiently in a magnificent foyer. A
chime sounds and huge double doors open to reveal TENGTU
HOK, flanked by two uniformed Japanese Soldiers and a robed
Chinese Advisor. He wears a fantastic gold ornamental robe.
Despite the majesty, however, nothing can disguise the fact
that Hok is basically a wild, fat barbarian; an animal. Hok
and his escort group bow in what is the beginning of a long
welcoming ceremony. The Germans exchange impatient glances
but decide they should play it as it comes. They bow.

INT. HOK'S MUSEUM

No person in sight. Instead, we see a magnificent display of
ancient artifacts. Glass cases hold the velvet-couched pieces
at random spots on the shining marble floor. We hear an odd
sound. Near the floor on the rear wall of the museum, a steel
ventilation grate moves. A hand slides it gently across the
marble. Indy sticks his head out and looks around.

INT. HOK'S PALACE - TEA ROOM

The three Germans are being served tea and exotic delicacies.
A pleased Tengtu Hok watches from a throne-cushion. When the
tray of tiny delicacies is presented to him, he takes a
massive handful, crushing them together on their way to his
smiling mouth.

INT. HOK'S MUSEUM

A huge golden gong, seven feet in diameter, is suspended
from the ceiling by a hook. An enormous hammer hangs poised
above it, from which emanate myriad tiny threads which run
up and across the ceiling, then down to the various display
cases. Indy looks up at the gong, then continues his quick,
quiet foray among the cases. Beyond him, a high window.

INT. HOK'S PALACE - TEA ROOM

Hok and his visitors stand to go. The German's pleased
expressions make it clear they're finally on their way to
the museum.

INT. HOK'S MUSEUM

Indy arrives at his destination. The lovely, carved gold
section of the headpiece is nested on purple velvet in a
glass case. At the bottom of the piece is a round hollow
where the staff would fit. There is a grunting sound behind
Indy and he spins, already reaching for his revolver.

A fierce Japanese Samurai is running at Indy full speed down
an aisle of display cases. His sword is raised over his
shoulder ready to cut Indy in half. He's six feet away when
Indy's gun levels and fires twice, blasting him backwards.
Indy is still looking over his gun when another samurai sword
comes down from the side and knocks the pistol brutally out
of Indy's grip; his hand avoids amputation by a quarter of
an inch.

An amazed Indy backs away from the crossing aisle as the
Second Samurai steps in to face him, sword raised. Indy backs
away into an open space and his bullwhip appears in his hand.
He gives it one savage CRACK! to announce its arrival and
the Samurai slows down, eyeing it curiously. The Samurai
does not look unhappy about this confrontation. How pure it
is - The Sword versus The Whip.

EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY

Tengtu Hok and the Germans have obviously heard something.
They are hurrying along the walkway at the side of the
building, Hok in the lead. Up ahead is the foot bridge which
crosses from the palace to the museum entrance over a moat.

EXT. STREET IN FRONT OF THE PALACE - DAY

The Lovely Mercedes limousine blows up.

EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY

The Germans spin toward the blast. Drawing weapons, they run
back to investigate. Hok follows them, confused.

INT. HOK'S MUSEUM

Indy and the Samurai face each other. They're both breathing
hard from previous, no-contact passes at each other. Now
Indy begins swinging the whip over his head again. It whizzes
out toward the Samurai's face. The Samurai takes two lightning-
quick cuts at the leather, but misses. Indy swings for the
Samurai's feet; the Japanese jumps nimbly, slashing at the
whip. Indy does it again. The Samurai hops it. Once more.
The Samurai is concentrating on hopping it.

Indy sees it. The split second he wants. The whip flashes up
from the floor and wraps solidly and irrevocably around the
Samurai's neck. Indy gives it a murderous pull and the Samurai
is dead on his feet.

EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY

Hok and the three Germans are looking down at the flaming
remains of the Mercedes. A look of concern crosses Hok's
face. He turns and runs back toward his beloved museum.

INT. HOK'S MUSEUM

Indy is at the case containing the headpiece. He smashes the
glass with a samurai sword, reaches in and grabs the piece.
Immediately, behind him, the huge hammer falls and the sound
of the gong thunders through the museum.

EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY

At the sound of the gong, the running Hok skids to a halt
with a crazed expression on his face. He disappears for two
seconds in an alcove and emerges holding a big, black Thompson
Submachine Gun. He runs across the foot bridge and is just
barely over it when it blows up. Hok, safe, looks behind him
in amazement and then turns to the museum.

INT. HOK'S MUSEUM

The double doors at the entrance slam open to reveal Hok.
Indy is halfway along an unprotected wall back to his
ventilation entry route. Hok opens up on him, cutting off
his retreat. Indy jumps behind a marble column, which is
promptly blasted with machine gun fire.

Indy looks above him, sees the giant disk of the gong.
Reaching up, pushing with tremendous effort, he maneuvers it
off the hook. It bounces down to the floor on its side,
chipping the marble with its monstrous weight. Indy steadies
it and then puts his whole body into rolling it across the
room toward the window. As it starts to roll, Indy slips
behind it and runs across the room with it.

Hok can see the rolling gong. He opens up on it. The vicious
cacophony of machine gun fire is joined by the musical reports
of bullets hitting the gong and ricocheting away. Very, very
noisy.

Behind the gong, Indy gauges his move. As the gong is about
to be stopped by a marble bench, Indy talks a long stride
onto the bench and dives through the glass of the high window.
Hok's bullets hit the wall.

EXT. ROOF - DAY

Indy lands in a shower of glass on the jutting roof of the
museum's first floor. He rolls to a crouch and is immediately
being fired upon. The Germans, cut off from the museum, are
standing on the palace walkway firing at him. Indy takes off
fast for the rear of the museum.

EXT. ALLEY BEHIND MUSEUM - DAY

Kehoe, craning to locate Indy, has the Ford rolling slowly
along the back of the museum. Bang scouts from the back seat.
Indy appears on the roof at a run, gauges the movement of
the car and jumps from the roof of the museum to the roof of
the sedan. Unfortunately, the roof of the old car can't take
it and Indy's legs knife right on through to the interior,
where he scares the hell out of Kehoe.

INT. KEHOE'S CAR - DAY

Indy squirms his way down into the front seat.

KEHOE
Jesus! Are you all right!

INDY
(he's felt better)
Great. Got it.

Kehoe guns it, throwing Indy back against the cushions.

KEHOE
What now?

INDY
I've got to get to Nepal.

WIPE TO:

EXT. DC-3 IN THE AIR - DUSK

The plane flies west into the sunset.

INT. DC-3 - NIGHT

Under a meager seat light, Indy is pouring over a journal
article by Abner Ravenwood and related map of Nepal.

A few rows back, across the aisle, a trenchcoated European
Spy eyes Indy.

WIPE TO:

INT. "THE RAVEN" SALOON - PATAN, NEPAL - NIGHT

A huge stuffed raven, wings spread wide, is mounted behind
the long bar in the noisy, crowded saloon. A lively mix of
patrons is represented in the late hour tableau: Nepalese
natives, fierce Sherpa mountain guides, sleazy international
smugglers and fugitives, and, of course, mountain climbers
from every corner of the earth. A tall Nepalese, MAHDLO, is
the bartender.

In a corner near the fireplace trouble breaks out suddenly
between the groups at two neighboring tables. Ferocious
representatives from each table - one a wild-looking SHERPA,
the other a muscular Australian CLIMBER - jump up to face
each other. As the two contenders stand poised for action,
their respective supporters shift in their places, fondling
lethal ice axes and clubs.

SHERPA
Gmoiska! Shurga rintoik!

CLIMBER
Aye! That'll be your last word.

The bar has quieted ominously and so we hear with startling
clarity when - a door behind the bar slams open with a huge
BANG! and some Presence, too small to be seen as it moves
through the forest of towering patrons, makes a beeline for
the troubled corner of the bar. A path clears for it.

The Sherpa and the Climber are about to kill each other when
the Presence arrives directly between them: she is MARION
RAVENWOOD, twenty-five years old, beautiful, if a bit hard-
looking. At this moment, however, that look does not hurt.
She is not intimidated by the combatants; she jabs accusatory
fingers into their chests. She is angry as hell. The patrons
shrink under her gaze.

MARION
That does it! I've been patient with
you no-goods long enough. I'm not
open at 2 o'clock for myself, you
know. It's all for you. And how do
you repay me: Trouble and noise and
blood on my floor! I won't have it.
Everybody out! Out! Out! We're closed.
Closed! Do your killing outside! And
don't leave any bodies on the porch!

The place clears quickly. Stragglers and grumblers are given
special attention by Marion and Mahdlo, who has come from
behind the bar carrying a big axe handle. Mahdlo herds the
crows out the front door as Marion turns and walks behind
the bar.

A scowl on her lovely face, she has just begun clearing the
bar of glasses when she notices one remaining Patron huddled
over a glass at the far end of the bar. Grimacing in
exasperation, she heads that way like a locomotive.

MARION
Hey you, deaf one! I said out of my
place. I don't mean next Easter, I
mean now -

She is almost on him when Indy looks up smiling. Marion stops,
stares, shocked.

INDY
Hello, Marion.

She hits him with a solid right to the jaw, knocking him off
the barstool on the floor. He rubs his jaw and smiles up at
her.

INDY
Nice to see you, too.

MARION
Get up and get out.

INDY
(getting up)
Take it easy. I'm looking for your
father.

MARION
(bitterly)
Well you're two years too late.

Indy's attitude changes instantly. This is sad news. He is
silent for a long time. Mahdlo comes in the front door and
hurries forward when he sees Indy with Marion. He looks to
her for guidance, but she stays him with a gesture.

MARION
Go home, Mahdlo. I'll see you
tomorrow.

Mahdlo is hesitant, but lays the axe handle on the bar and
goes out. Indy has been barely aware of him. Now he settles
again on the barstool. Marion has a vindictive look. She'll
let him stay, but she wants to inflict as much pain as
possible.

INDY
What happened?

MARION
Avalanche. Up there. He was digging.
What else? He spent his whole life
digging. Dragging me all over this
rotten earth. For what?

INDY
Do you find him?

MARION
Hell no. He's buried where he was
working. Probably preserved real
good, too. In the snow.

Suddenly the hardness cracks. She is on the verge of tears
and does not want him to see them. She turns away and takes
a whiskey bottle from the shelf, then turns back to pout
herself a drink.

INDY
Not a bad way to go. Doing what he
loved.

MARION
(vitriolic)
Don't give me that stuff! What do
you know?
(she takes a drinks)
I'm the one that was left in a bad
way. He didn't have a penny. Guess
how I lived, Mister Jones. I worked
here. And I wasn't the bartender.
(another swallow)
Finally the guy that owned the joint
went crazy. Snow crazy. They took
his away screaming. As they dragged
him out, he said the place was all
mine for life.

She looks around the saloon.

MARION
Can you imagine a more evil curse?
(pause)
So far, it's working.

INDY
Why not leave? Go back to the States.

MARION
I'll go back. I'll get there. Not
that there's a soul there who knows
my name or cares. But I'll go. And
when I do, they'll know me. 'Cause
I'm going to go back in style. With
money. A goddamn lady!

INDY
Where you gonna get it?

MARION
If I knew that, you think I'd still
be running this dive?

Indy looks at her, thinking. Under his gaze, she blushes,
for reasons only she understands. She looks into her glass
and, for a moment, she softens.

MARION
I'll tell you something Indy. I've
learned to hate you in the last ten
years. But somehow, no matter how
much I hated you, I always knew that
someday you'd come through that door.
I never doubted that. Something made
is inevitable.
(hopefully)
Why are you here... now... tonight?

Indy takes a long time to answer.

INDY
I need one of the pieces your father
collected.

Marion's eyes go icy. She swings at him again with her right,
but this time he catches her at the wrist. Then he stops her
left, which she has brought up to slap him.

MARION
You son-of-a-bitch! You know what
you did to me, to my life? This is
your handiwork.

INDY
I never meant to hurt you.

MARION
I was a child!

INDY
You knew what you were doing.

MARION
I was in love.

INDY
I guess that depends on your
definition.

MARION
It was wrong. You knew it.

Indy releases her arms.

INDY
Look, I did what I did. I don't expect
you to be happy about it. But maybe
we can do each other some good.

MARION
Why start now?

INDY
Shut up and listen for a second. I
want that piece your father had.
I've got money.

This stops her.

MARION
How much?

INDY
Enough to get you back to the States.
Where are his things?

MARION
Gone. I sold it all. It was all junk.
The junk he wasted his life on.

INDY
Everything?

Marion nods.

INDY
(giving up)
That's too bad.

Indy feels tired, defeated. Marion is pleased.

MARION
You look disappointed. I like that.
How's it feel?

Indy has to smile at her glee.

MARION
(nods at his empty
glass)
What are you drinking?

INDY
Seltzer.

MARION
(refilling his glass)
Real man's drink. Me, I like scotch.
And I like bourbon. And vodka and
gin. I'm not much for brandy. I'm
off that.

She pours herself another as Indy watches, amused.

INDY
You're a tough broad now, aren't
you?

MARION
It's no act, pal. This ain't
Schenectady.

INDY
I can only say I'm sorry so many
times.

Marion looks at him thoughtfully, takes a drink.

MARION
You really have money? You don't
look rich.
(Indy nods)
I may be able to locate some of his
things. I know who's got them. What
do you want?

INDY
A bronze piece, about this size. In
the shape of the sun. Probably broken
off at the bottom. Has a little hole
in it, off-center. Does that sound
familiar?

Marion thinks, nods slowly.

INDY
Do you know where it is?

MARION
Maybe. How much?

INDY
Three thousand. American.

MARION
(negative)
That'll get me back, but not in style.
This doodad must be pretty important.

INDY
Maybe.

A huge smile lights up Marion's face.

MARION
I knew it would happen eventually. I
knew it. Something had to go my way.
(pours herself another
drink)
I've got to think this out. I'm used
to bargaining with yaks.

INDY
Okay, five thousand. That's all I
can give you now. I can get you more
when you land in the States.

MARION
You word, huh?
(Indy nods)
Just like you said you'd be back
last time? That was your word too.

INDY
I'm back, aren't I?

Marion sneers and they smile together.

INDY
You can trust me.

MARION
Come back tomorrow.

INDY
Why?

MARION
Because I said so, that's why. It's
about time I called the shots in
this relationship.

Indy nods, gets up to go.

MARION
Wait a minute. Leave the five thousand
here.
(Indy hesitates)
You want trust, give some. I want to
smell your money.

Indy thinks about this a moment, then reaches inside his
shirt and pulls cash from a money belt. He lays five grand
on the bar.

INDY
I trust you.

MARION
You're an idiot.

INDY
I've heard that.

Indy starts for the door. Marion takes another think. She is
getting high.

MARION
Hold it. Come here.

INDY
(moving back)
Bossy, aren't you?

MARION
That's right. Give me a kiss.

Indy looks into her eyes, then leans over the bar and kisses
her deeply. When the kiss ends, their faces are very close.
Marion is flushed. She liked it and would like more. She
raises her glass between them to discipline herself.

MARION
Get out of my place.

Indy smiles and walks to the front door. Then, without looking
back -

INDY
Tomorrow.

He's gone. Marion stares after him, thinking. She takes a
drink. Then slowly, her hand comes up to loosen the scarf
that is draped around her throat. It falls away, revealing
her graceful neck above the dipping top of her blouse. Hanging
there on a gold chain against her white skin is a sun-shaped
golden medallion. The bottom looks broken off. Marion lifts
the medallion so she can see it in her hand, then looks
thoughtfully after Indy.

EXT. STREETS OUTSIDE "THE RAVEN" - NIGHT

Indy sits thinking at the wheel of an old car. Finally, he
puts the car in gear and drives away.

Across the street, the shadow in a doorway comes to life. A
dark form steps out to look at Indy's departing car; it is
the European Spy from the DC-3. He hurries off in the opposite
direction.

DISSOLVE TO:

INT. "THE RAVEN" - NIGHT

Marion stands before the fire that is shrinking in the
fireplace. She jabs at it abstractedly with a poker, thinking.
Suddenly tears well up in her eyes. She lets the poker slip
from her hand, wipes away the tears. She walks across the
room to the end of the bar, still cluttered with bottles and
glasses, and stops at the pile of American money Indy has
left. She takes the chain from around her neck and lets the
medallion slide off it into her hand. She places it on the
bar next to the pile of money, thinking. Then, having reached
some decision, she picks up the pile of bills, walks up the
back of the bar and pulls a small wooden box from under the
bar. She flips open the top, puts the cash inside and closes
the top. She leaves the box on the bar and starts back toward
the medallion. The front door of the saloon bursts open and
Four Bad Men come in. Marion, halfway between the valuable
possessions and not wishing to draw attention to either,
stops where she is.

The Four Bad Men who advance on her are:

1.) the obvious leader, a short, vile, sadistic German in
spectacles by the name of BELZIG.

2.) a trenchcoated SECOND NAZI.

3.) a ratty-looking NEPALESE and

4.) a mean MONGOLIAN. The second NAZI and the MONGOLIAN both
carry submachine guns.

BELZIG
Good evening, Fraulein.

MARION
The bar's closed.

BELZIG
We are not thirsty.

The Mongolian and the Nepalese poke around, checking to make
sure there's no one else there.

Down at the end of the bar, the medallion lies partially
hidden by surrounding glasses and bottles. The Second Nazi
stops very near it, but turns his back to it to face Belzig
and Marion.

MARION
What do you want?

BELZIG
The same thing your friend Dr. Jones
wanted. Surely he told you there
would be other interested parties.

Marion shakes her head.

BELZIG
Ah, the man is nefarious. I hope for
your sake he has not yet acquired
it.

MARION
Why, are you willing to offer more?

BELZIG
Almost certainly. Do you still have
it?

MARION
No. But I know where it is.

Belzig's smile fades at this news. He's not a patient sort.
Marion is chilled by the look. She turns and moves to the
shelf of bottles behind her, reaching high for one, very
near the large stuffed raven. He hand lingers there a moment
and we see -

From an angle behind the stuffed raven, that the left wing
spread hides a Baretta automatic pistol. Marion's hand is
very near it, but withdraws with only a whiskey bottle as
the Mongolian walks toward her behind the bar.

Marion opens the bottle before Belzig, who watches her
intently.

MARION
How 'bout a drink for you and your
men?

The Second Nazi lights up at this suggestion. Belzig gives
him a withering look.

BELZIG
We will stick to the business at
hand, Fraulein.

MARION
(tough)
Fine. Why don't you come back tomorrow
when Jones is here and we'll have an
auction?

Belzig gives her a cold look then turns and walks over toward
the fireplace. As soon as his back is turned, the Second
Nazi grabs the nearest whiskey bottle and takes a quick pull.
In so doing, he leaves the medallion completely exposed.
Marion is aware of this as she looks at him. But he quickly
puts the bottle down again, obscuring the medallion, when
Belzig speaks from the fireplace.

BELZIG
I'm afraid an auction is not possible.
(pause)
Your fire is dying here, Fraulein.
(a beat, then
threatening)
Why don't you tell us where the piece
is right now?

MARION
Listen, Herr Mac, I don't know who
you're used to dealing with, but no
one tells me what to do in my place.

Belzig, still looking in the fire, sneers and shakes his
head.

BELZIG
Americans! You're all alike. Fraulein
Ravenwood. I'll show you want I'm
used to.

He motions with his hand. The Mongolian moves up behind Marion
and lifts her roughly over the top of the bar, knocking over
bottles and spilling liquor. He deposits her on the other
side, where the Nepalese and the Second Nazi flank her and
hold her cruelly, arms behind her back. Marion raises a
ruckus.

Belzig turns from the fireplace. In his hand is the poker,
its end glowing orange. He advances on Marion. Marion stops
yelling, her eyes widen in terror.

MARION
Wait! I can be reasonable -

BELZIG
That time is passed.

The glowing poker point moves inexorably across the room
toward Marion's face.

MARION
You don't need that. I'll tell you
everything!

BELZIG
Yes, I know you will.

Belzig has no intention of stopping now. The glowing tip is
approaching Marion's face. The Nepalese watches with savage
glee.

The tip of the poker is five inches from Marion's nose when
there is a loud CRACK! and the fall of Indy's bullwhip wraps
around the middle of the poker and tears it out of Belzig's
hands. The poker sails high across the room, free of the
whip, and lands in the heavy curtains that cover one window.
The curtains immediately burst into flame.

The four Bad Men look in surprise toward the front entrance.
Indy is poised there, the whip in his right hand, a .45
automatic raised toward them in his left.

INDY
Hello.

Now everything begins to happen very fast -

The Mongolian had just come around the bar at the end opposite
the medallion. He dives back to crouch behind the end of the
bar, raising his submachine gun.

Belzig and the Second German dive behind tables near the
bar. The Nepalese is slower to leave Marion, he draws a Luger.
Indy's .45 barks and the Nepalese dies spinning against the
bar. Indy fires in the direction of the Mongolian.

Marion swings up over the top of her bar. Belzig fires at
her, but his bullets smash bottles behind the bar and thud
into the raven.

Marion flattens out on the floor behind the bar as bullets
hit above her. She reaches up, snatches the axe handle from
where Mahdlo left it, and begins crawling down the length of
the bar toward -

The Mongolian, who sticks his submachine gun out and fires
blindly in Indy's direction.

Indy is in a crouch behind a table, trying to get a shot at
someone. He doesn't notice in the din and confusion when the
door bursts open. An incredible, fearsome GIANT SHERPA, almost
seven feet tall, soars in and tackles Indy from behind. The
whip flies from Indy's hand as he and the Giant Sherpa roll
across the floor, upsetting furniture.

The Mongolian, seeing this, stands up confidently. Marion
rises behind him and bashes him over the head with the axe
handle. He goes down and out.

Fire has completely engulfed the curtains and is working
across the ceiling on decorative yak skin bunting. A burning
fragment drops to the top of the bar, which immediately lights
up, fueled by the spilled alcohol. Full whiskey bottles
explode like Molotov cocktails.

Rolling on the floor, Indy and the Giant Sherpa are fighting
for control of Indy's .45. Belzig sees this and shouts to
the Second Nazi, who is rising from cover with submachine
gun in hand.

BELZIG
Shoot them both!

SECOND NAZI
He's our man!

BELZIG
Do as I say!

Both the Giant Sherpa and Indy hear this. The Giant Sherpa
exchanges an alarmed look with Indy and together they swing
the .45 around toward the surprised Second Nazi. Two blasts
blow him away.

That done, Indy brings a brass spittoon down on the Giant
Sherpa's wrist and the .45 slides away. Indy jumps up and
kicks the Giant Sherpa, who barely seems to feel it. He grabs
Indy and flips him effortlessly onto a table.

Belzig now has a clear shot at Indy. He raises his luger.

Marion, at the end of the bar, finally gets the hand of the
Mongolian's submachine gun. It roars to life in the general
direction of the ceiling.

Belzig runs for cover as Marion gets control of the gun and
levels it. Belzig dives around the end of the bar opposite
Marion. When he has set himself, he peeks up over the edge
of the scorched bar. The alcohol fire has moved down the bar
and now, much to Belzig's surprise, he finds himself staring
at the fire-blackened sun-shaped medallion!

His eyes widen. He cannot believe his good fortune. Without
hesitation he picks up the metal medallion, palming it.
Immediately there is a sickening searing sound and Belzig's
expression changes from joy to agony. He screams in pain and
tries to shake the red-hot medallion from his skin. Marion
opens up and the bar starts to splinter in front of Belzig.
The medallion comes free of Belzig's hand and rolls across
the floor.

Belzig has had enough. In excruciating pain, he turns, sees
a window, runs and dives through the glass.

An exhausted Indy uses his whole body to upend the Giant
Sherpa, who lands hard on his back. They are surrounded by
flames.

EXT. "THE RAVEN" - SNOW BANK - NIGHT

Belzig has his burned hand stuck deep in the snow. Now he
withdraws it, steaming, and scurries off into the night like
a wounded animal.

INT. "THE RAVEN" - NIGHT

Marion throws down the empty submachine gun and moves through
the flames to the center of the bar where she left the box
with the five grand. She finds the remains of the box and
its contents: a shapeless pile of ash and charred wood.

MARION
Unbelievable!

At the end of the bar, the Mongolian has come back to life.
He shakes out his head, then reaches inside his coat and
pulls out a Mauser pistol.

Indy smashes a chair over the head of the Giant Sherpa and
the huge creature goes down.

The Mongolian points his Mauser through the smoke and flame
at Indy. Suddenly, the Mongolian is shot dead.

Marion stands beneath her stuffed raven with the Baretta.

Indy moves quickly through the flames, his eyes scanning the
floor. He picks up his bullwhip and his crumpled felt hat.
He peers through the smoke till he spots Marion moving among
the burning furniture.

INDY
Let's get out of here!

MARION
Not without that piece you want!

INDY
It's here?

Marion nods, kicks aside a burning chair. Another burning
beam falls from the roof. Indy pulls Marion close to him
protectively.

INDY
Forget it! I want you out of here.
Now!

He begins dragging her out.

MARION
(pointing)
There!

She breaks away from him, darts back and picks the hot
medallion up in the loose cloth of her blouse.

INDY
Let's go!

MARION
(looking around)
You burned down my place!

INDY
(figuratively)
I owe you plenty!

MARION
(literally)
You owe me plenty!

INDY
(smiles)
You're something!

MARION
I am something. And I'll tell you
exactly what -

She holds up the medallion possessively.

MARION
I'm your partner!

EXT. CAIRO - VARIOUS SHOTS - DAY

First we see the sprawl, the soaring minarets, the ancient
skyline. Then we're closer, in the narrow, exotic streets,
teeming with life: fierce-looking men in tattered galabiyas,
black-gowned women with veiled faces, ragged, barefoot
children.

INT. DINING ROOM - SALLAH'S HOUSE (OLD CAIRO)

Indy and Marion have been welcomed like family into the
crowded home of SALLAH, his wife FAYAH, and their NINE
CHILDREN (ages 4 - 18). Fayah, a huge, imposing woman,
appears, at first glance, to be the power in the house.
Sallah, a small, cheerful, energetic fellow in his forties
defers to his wife in all matters of little importance.
Suddenly the general liveliness at the children's table
escalates into pandemonium, attracting the attention of the
adults.

FAYAH
Silence!
(there is silence)
Why do you forget yourselves?

The gaggle of grinning off-spring parts to reveal in their
midst - a MONKEY. It is munching some flat Arab bread.

FAYAH
What is this? Who brought this animal
in?

All the children chatter their innocence at once. The Monkey
chatters too; it's an entertainer. The Monkey jumps from the
children's table to the adults' and struts slowly up toward
Marion, who thinks it's the cutest thing she ever saw. When
it reaches her, it takes off its turban and does a deep,
grand bow to her. She is delighted and takes the Monkey into
her arms. The Monkey kisses her cheek. The children laugh.

MARION
Why, thank you. I like you too.

FAYAH
Then it shall be welcome in our house.

MARION
Oh, no! You don't have to have it
around if you don't want it -

SALLAH
(cheerfully)
All of Allah's creatures are welcome
here. You please us by letting us
please you.

EXT. COURTYARD - SALLAH'S HOUSE - NIGHT

Indy and Sallah sit in the small, protected courtyard. Sallah
holds the two sections of the headpiece, the medallion and
the base, and has for the first time fitted them together.
They fit perfectly and complete the headpiece. He peruses
the markings on the headpiece quizzically. Indy is cleaning
and loading a .45 automatic.

INDY
I knew the Germans would hire you,
Sallah. They couldn't have an
excavation in the desert without the
best digger in Egypt.

SALLAH
All Arabs look alike to them, Indy.

INDY
Tell me about the map room at Tanis.

SALLAH
We found it three days ago. I broke
through myself.

INDY
Those Nazis are moving awfully fast.

SALLAH
The Frenchman is helping them.

Indy reacts.

INDY
Belloq. So he got away from the
Indians. This is going to be more
interesting that I thought.

SALLAH
I'm afraid this has put the Germans
close to finding the Well of the
Souls.

INDY
(indicates the
headpiece)
Even Belloq won't be able to find it
without that. Can you make anything
of those markings? They're nothing
I'm familiar with.

SALLAH
(shakes his head "no")
But I know someone who might. You
can go to see him tomorrow.
(a worried expression)
Indy... something bothers me.

INDY
What is it, my friend?

Sallah finds it hard to say. When he finally speaks, his
words are accompanied by a strange, eerie, foreboding rush
of wind through the courtyard. Just a coincidence we might
suppose.

SALLAH
It is the Ark. If it is there, at
Tanis... It is not something man was
meant to disturb... Death has always
surrounded it. It is not of this
earth.

The wind dies down. Indy shakes off a chill and stares
thoughtfully at his friend.

EXT. HEAVILY TRAFFICKED CAIRO STREET - DAY

Indy and Marion are briskly walking along one of Cairo's
busy bazaar streets. Vendors with fine cloth, pottery,
baskets, jewelry, etc line the street. Marion has the Monkey
from Sallah's house on her shoulder.

INDY
Do you really need that monkey?

MARION
I'm surprised at you, Indy. Talking
that way about our baby. He's got
your looks, too.

INDY
And your brains.

As Indy and Marion turn a corner, the Monkey seems to notice
something and immediately jumps from Marion's shoulder and
hurries off at a frantic pace down the street.

MARION
(looking disappointed)
Hey! Hey!... where're you going?

INDY
(dragging Marion on)
He'll be OK. Come on. Come on.

EXT. ANOTHER CAIRO STREET - DAY

The Monkey is seen running around another corner and jumps
into the waiting arms of MONKEY MAN, who appears to be like
a beggar with a dirty turban and an eye patch. Monkey Man
immediately hurries down the street and passes into a
building. In the building are two GERMAN AGENTS. Monkey Man
and the Monkey both give the Heil Hitler salute and engage
in quick talk.

Monkey Man quickly leaves the two German Agents and gets
back to the street. He is obviously shadowing Indy and Marion.
Indy and Marion are just now passing by the Monkey Man ducks
back behind some baskets.

EXT. ANOTHER BUSY CAIRO STREET - DAY

Indy and Marion are passing under a balcony where a lone
GERMAN AGENT stands watch. After they pass, the Agent nods
to some BAD ARABS who are hiding in the shadows of the street.
In a moment, Indy and Marion pass by the break. Monkey Man
turns and looks up at a roof further down the alley. He waves
with his hand. Someone up there waves back.

EXT. A SMALL BAZAAR - DAY

Indy and Marion have reached a tiny square, made even more
cramped by its use as a small bazaar. They have started
working their way through the crowd when several Bad Arabs
and a German Agent begin to converge on them. Indy immediately
sees what's happening and pulls the bull whip from his jacket.
The first Bad Arab to reach them gets hit in the mouth by
the handle of the whip. Now all hell breaks loose, with Bad
Arabs, Innocent Shoppers, baskets of fruit and tables of
goods flying every which way in the constricted space.

INDY
(to Marion)
Run! Get out of here!

Indy catches a dagger-wielding Bad Arab around the legs with
the whip and flips him. Marion is reluctant to leave Indy.

INDY
Go, dammit! Go!

Marion goes. She runs off between two buildings. A Bad Arab
takes off after her. Monkey Man, now standing at the edge of
the square, points at Marion. The Monkey jumps off his
shoulder and follows Marion.

EXT. BETWEEN THE BUILDINGS - DAY

Marion runs along the narrow space and soon encounters a
five foot wall. She flops over it. The Bad Arab is right on
her heels. He reaches the wall and vaults over. On the other
side of the wall, the Bad Arab lands in a crouch, looks ahead
and doesn't see Marion. Immediately a heavy earthen pot
smashes over his head, putting him out. Marion steps from an
alcove and starts to run toward the street at the other end
of the walkway. Suddenly another Bad Arab and a new German
Agent appear in the street at that end. Before they can spot
her, Marion retreats to the alcove again. There is a huge
rattan basket sitting there. Marion climbs in and closes the
top above her.

The only witness: The Monkey, who is now perched on the fire
foot wall.

EXT. THE SMALL BAZAAR - DAY

Chaos. An entire booth of pots and pans collapses on a Bad
Arab and a German Agent as Indy whips away a support.

EXT. BETWEEN THE BUILDINGS - DAY

The chattering Monkey leads a German Agent and two Bad Arabs
to Marion's hiding place, gesturing maniacally.

EXT. THE SMALL BAZAAR - DAY

Indy ducks under the swinging blade of a huge Arabian sword
and kicks the Bad Arab Swordsman in the groin.

EXT. SIDE STREET - DAY

The German Agent leads the way as the two Bad Arabs carry
the huge basket above their heads. The basket top has been
fastened closed, but Marion is making a fuss inside. At the
place where the street cuts across the far side of the bazaar,
Marion is able to wedge the top open one inch and screams -

MARION
Indy-y-y-y!

EXT. THE SMALL BAZAAR - DAY

Indy has heard her. He looks across the square as the basket
and its escorts disappear beyond a building. One last Bad
Arab rises before him. Indy's whip flashes and the Bad Arab's
robe falls down to his ankles. Indy frantically pushes his
way through the panicked mass of humanity in the direction
the basket has gone.

EXT. THE FOOT CHASE - INTERCUTTING INDY AND THE MOVING
BASKET - DAY

The Bad Guys move the basket as fast as they can through
streets, alleys and passageways thick with people. Indy always
seems to round a corner just in time to catch a glimpse of
the basket before it disappears around a new corner. Indy
must fight a flow of humanity as powerful as an ocean riptide.
Finally, at the head of one particularly crowded alley, Indy
leaps up onto a wall for a clearer view. Whatever he sees
gives him an idea and he cuts between two buildings rather
than following the basket.

EXT. DESERTED ALLEY - DAY

Two Bad Arabs come running down the Alley with the basket
between them. Suddenly, Indy's whip flashes out sending both
Arabs and the basket tumbling. Indy steps into view, his .45
trained on the sprawled Arabs, and looks at the basket. The
top has come flying off and the contents have clattered onto
the cobblestone: inside is not Marion, but a load of
contraband pistols, rifles and ammo. Indy is advancing on
the trembling Bad Arabs with an ugly look when suddenly he
hears Marion scream around the corner.

EXT. DESERTED SQUARE - DAY

Indy rounds the corner and is immediately driven back by
machine gun fire. Taking cover, he gets quick, intermittent
glimpses of this scene: At the far corner of the large,
deserted square is a canvas-covered truck. Two Bad Arabs are
hurrying toward is with a large rattan basket between them,
Marion screaming inside. A German Agent is covering their
retreat with a machine gun from the cab of the truck. Indy
runs up to see the rattan basket being heaved into the back
of the truck.

EXT. BACK OF THE TRUCK - DAY

What Indy cannot see is that the basket lands among an ominous
load of German munitions, dynamite and firearms. The truck
immediately peels out.

EXT. DESERTED SQUARE - DAY

The German Agent has stopped firing in order to drive. He
floors it, aiming for a street at the corner of the square.
Indy uses the lull to take careful aim at the German Agent's
profile and fire off three careful shots. The German Agent
is hit, blasted dead against the steering wheel. The speeding
truck swerves, hits a wall, rolls over and explodes in an
enormous, multi-leveled eruption as its contents ignite.
Several surrounding buildings are leveled.

Indy, blown back across the square, looks on, astounded and
horror-stricken.

INDY
Marion.

INT. ARAB BAR - NIGHT

A dark, smoke-filled den on iniquity. The patrons, almost
all fearsome Arabs, sit in small shadowy groups around the
room. Indy stands at the bar finishing off a fifth of bourbon.
He is drunk. The ARAB BARTENDER places a new bottle of
expensive bourbon in front of him. Indy eyes is queerly.

ARAB BARTENDER
The gentleman in the corner sent it.
He would like you to join him.

INDY
(doesn't even look)
Too bad. I'm drinking alone.

The Arab Bartender does a take, looking at the three, tough
GERMAN HENCHMEN who have surrounded Indy from out of the
smoke, their hands stuffed in bulging trenchcoat pockets.
Indy notices them now with a bleary glance. He decides he's
in no shape to kill or be killed and moves with them across
the room, taking his bottle with him. The Arab patrons take
this in and mind their own business.

The occupant of the smoke-shrouded corner table becomes
visible only as Indy reaches there: it is Emile Belloq. He
is drinking wine.

INDY
Belloq.

BELLOQ
Good evening, Dr. Jones.

INDY
I ought to kill you right now.

BELLOQ
It was not I who brought the girl
into this dirty business.

Indy knows its true; that's what's tearing him up.

BELLOQ
Sit down, please, before you fall
down. We can behave as civilized
people. I'm afraid it will be your
last opportunity.

Indy sits, glancing at the German Henchmen, who settle nearby,
just out of earshot.

INDY
Not a very private place for a murder.

BELLOQ
(looking around)
These Arabs will not interfere in
the white man's business. They do
not care if we kill each other off.
(takes a sip of wine,
refers to it)
Terribly difficult finding a decent
vintage here. You were quite vigorous
in Shanghai. Unfortunately, our friend
the Wild Boar had taken the precaution
of making several copies of the piece.

Indy registers this as he takes a drink. Belloq watches him
with disdainful amusement.

BELLOQ
How odd that is should end this way
for us, after so many... stimulating
encounters. I almost regret it. Where
shall I find a new adversary so close
to my own level?

INDY
Try the local sewer.

BELLOQ
I know you despise me. We always
hate in others that which we most
fear in ourselves. And you and I are
very much alike.

INDY
Now you're getting nasty.

BELLOQ
We have always done the same kind of
work. Our methods have not differed
as much as you pretend. I am a shadowy
reflection of you. But it would have
taken only a nudge to make you the
same as me, to push you out of the
light.

There's a certain amount of truth to this; the recognition
of it flickers across Indy's bleary eyes. Belloq sees it
there.

BELLOQ
You know it to be true! How nice.
And how ironic the timing.

Belloq leans forward, eyes shining, voice suddenly different.

BELLOQ
Do you realize what the Ark is?
(very intense)
It's a transmitter. A radio for
talking to God! And now it is within
my grasp.

INDY
What about your boss, der Fuhrer? I
thought he was waiting to take
possession.

Belloq glances into the gloom at the German Henchmen.

BELLOQ
(quieter)
When the time is right. When I am
finished with it.

INDY
I hope your friends are patient.
Dangerous work, Belloq.

BELLOQ
Yes. Very. You may consider yourself
fortunate that your involvement
concludes here.

INDY
Tell me, did you get away with the
idol?

BELLOQ
(negative)
I was lucky to get away with my life.
The Hovitos proved quite narrow-minded
about the whole matter.

Indy takes a drink.

INDY
You know, if it's God you want to
talk to, maybe I can arrange it.

BELLOQ
(smiles)
You have not changed. But, please,
do not reach for your weapon until
you are ready to die.

The front door of the bar slams open and all nine of SALLAH'S
CHILDREN scamper in and over to a surprised Indy. Two of the
smallest hop into his lap.

LITTLE SON
Uncle Indy, we have been looking for
you.

LITTLE DAUGHTER
Come home now, Uncle. Hurry!

Suddenly the Arab patrons of the bar take an intense interest
in the situation, shifting their weapons.

INDY
Yes. Yes, I'll come now.

Indy stands up. The German Henchmen and poised. Belloq eyes
the Arab patrons and signals for the Henchmen to relax.

BELLOQ
Next time, Indiana Jones, it will
take more than children to save you.

The children usher Indy out.

INT. SALLAH'S TRUCK - IN FRONT OF ARAB BAR - NIGHT

Indy climbs into the cab of Sallah's truck with a smiling
Sallah as the children pile into the back. Sallah pulls out.

SALLAH
I thought we would find you there.
(indicating the kids)
Better than the United States Marines,
eh?

INDY
(nods)
Thanks you.
(grave)
Marion's dead.

SALLAH
Yes, I know. I am sorry.
(pause)
More reason than ever to beat the
bastards.
(he touches Indy)
Life goes on, Indy.
(indicates the kids
again)
There is the proof.

Indy looks back there, nods.

SALLAH
I have much to tell you, Indy.

INT. SALLAH'S HOUSE

Fayah brings in a tray of food and puts it on the table. The
bowl of dates is in one corner. As Fayah leaves the room,
the Monkey slips out of Sallah's lap and disappears under
the table. Indy leans over the food tray, his hand hovering
over the dates. But he chooses some cheese and bread instead.

INDY
And they made the calculation in the
map room?

SALLAH
(nods vigorously)
This morning. Belloq and the boss
German, Shliemann. When they came
out of the map room, we were given a
new spot in which to dig... out away
from the camp.

INDY
(resigned)
The Well of the Souls.

Sallah nods, moves to the food. He picks up a date, then
changes his mind and drops it, taking a bunch of grapes
instead. Indy picks up a chicken leg in one hand and a date
in the other, his mind distracted. Fayah enters the room
just in time to see Indy flip the date high into the air and
try to catch it in his mouth. It bounces off his chin and
falls to the floor. Indy looks sheepishly at Fayah. Fayah
picks up the fallen date and puts it in the dirty ash tray
she is now removing. Amir speaks in a slow, raspy voice
without looking up.

AMIR
Come. Look.

The two men go and huddle over the old man. The Monkey peeks
up over the edge of the table at the array of food. He picks
up a date and disappears below the table. Amir points to
some markings on the lower part of the headpiece.

AMIR
This is a warning... not to disturb
the Ark of the Covenant.

INDY
Just want I need.

The Monkey's paw comes up over the edge of the table and
grabs another date.

INDY
How 'bout the height of the staff?
Did Belloq get it off of there?

AMIR
Yes... it is here.

Indy, nervous, goes back to the food tray, picks up another
date. When he turns back to the men, the Monkey's paw grabs
another date.

We see the headpiece in closeup on the table. Amir's crooked
fingers trace a line of markings along the bottom section to
the break in the piece.

AMIR
It says it is... ten jamirs high...

SALLAH
About seventy-five inches.

AMIR
Wait! I am not finished...

Amir's finger moves across the break as the markings continue
on the sun medallion.

AMIR
(reading)
"And one jamir to honor the Hebrew
God whose Ark this is."

Indy, still holding the date, exchanges a long look with
Sallah.

INDY
You said their top section was blank.
Are you absolutely sure?

Sallah nods.

INDY
Belloq's staff is seven and a half
inches short. They're digging in the
wrong spot!

Sallah and Indy begin to laugh. Amir gives them a glance and
returns to his wine. Sallah leans over and kisses the old
man.

SALLAH
(to Amir)
A home run, my friend, grand slam!
(to Indy)
We have a saying - "A little luck is
better than much smartness." Indy,
pardner, you are very lucky fellow.

Indy hoots. Then he takes the data in his hand and flips it
high in the air. He opens his mouth to catch it, but it
doesn't come down. He has inadvertently thrown it into a
bowl of a hanging lamp. This makes the men laugh even harder.

Indy goes over and picks up another date. He turns laughing
to Sallah and doesn't see as the Monkey's paw comes up,
slowly, takes another date and begins to withdraw. Suddenly
the paw is stricken with palsy and the unseen Monkey goes
into its death throws. Sallah watches the paw as though
hypnotized. Finally the paw slips from sight and we hear a
solid THUMP! on the floor. Sallah walks around the table and
looks at the floor. The Monkey lies dead among a mess of
date pits.

Indy is in a happy world of his own. He throws his date high
in the air. He positions himself under it and waits for it
to drop in. Here it comes. Right on target. As it's about to
disappear into Indy's mouth, Sallah's hand flashes in and
grabs it. Indy looks mystified and disappointed. Sallah
motions toward the dead Monkey.

SALLAH
Bad dates.

EXT. DESERT ROAD - MORNING

Two old trucks come down a narrow mountain road and onto the
flat surface of the desert.

Further out into the desert, the one in the lead, Sallah's
truck, stops and the second one, Omar's truck, pulls up beside
it. There are half dozen Arab Diggers in Omar's truck. Indy,
dressed as an Arab, gets out of the cab of Sallah's truck
and moves over to confer with OMAR, another old friend. They
point off into the desert and reach some conclusion. Indy
gives him a pat on the back; Omar turns off the road and
drives into the desert with his workers. Indy hops back in
the cab of Sallah's truck with Sallah. As they move down the
road we see that the back of the truck holds three other
Arab Diggers.

EXT. RISE ABOVE THE TANIS DIGS - MORNING

Indy and Sallah are lying in classic shouting fashion at the
top of the rise looking down on the Tanis Digs. Down behind
them, Sallah's truck is parked with the three Arab Diggers.

INDY
My God! They aren't kidding!

WHAT HE SEES

The Tanis Digs are laid out below like a painting. Trucks,
bulldozers, Arab workers and German supervisors are
everywhere. The excavations themselves are extensive and
somewhat random-holes have been dug and then abandoned,
foundations and passageways unearthed and then deserted.
Beyond the main digs, a crude airstrip has been created.
Sallah points to what appears to be a mound of dirt with a
hole in it near the center of the activity.

SALLAH
There! That is the map room!

INDY
What time does the sun hit the map?

SALLAH
Just after eight.

INDY
We haven't got much time. Where are
the Germans digging for the Well of
the Souls?

Sallah points out into the desert a short way beyond the
main area of activity. The desert turns to sand dunes out
there, the surface undulating into the distance. Several
trucks and men are out there and a bulldozer is lumbering
noisily toward it.

INDY
Okay. Let's go.

EXT. THE TANIS DIGS - MORNING

Sallah's truck drives through the camp, one of the Arab
Diggers at the wheel. Indy and Sallah are in the back and
look just like the other two Arab Diggers. Sallah's truck
does behind a tent and when it appears on the other side,
Indy and Sallah are gone.

EXT. AMONG THE TENTS - MORNING

Indy and Sallah move stealthily among the tents. Indy carries
a smooth wooden staff almost seven feet tall. They stop
between two tents and look across a path at the entrance to
the map room. What appeared to be a mound of dirt is actually
the roof on the ancient building. The hole/entrance is a
five-foot square skylight. Indy looks around, then walks
casually to the edge of the hole and looks inside. Sallah
joins him, producing a length of rope from his robes. Indy
drops the staff into the unseen map room as Sallah ties the
rope around on oil drum. When it's secure, Indy wastes no
time disappearing down it into the map room.

INT. MAP ROOM

Indy is down the twenty feet to the floor of the room in
seconds. He tugs on the rope and it immediately gets pulled
up. Indy looks around with real wonder and excitement. The
room is lovely, with elaborate wall carvings and frescoes,
all lit by the bright stream of sunlight flooding in from
above. This beam of light leads Indy's eye to the far end,
and the room's truly remarkable feature: built into the floor
in meticulous relief is a miniature stone model of the ancient
city of Tanis. Already, the sunlight has worked its way down
the far wall and is edging onto the miniature of the city.
On the floor, to the skylight side of the miniature, is an
elaborate line created by embedded mosaic tiles. The evenly
spaced slots in the line, each accompanied by a symbol of a
time of year, are for the base of the staff. Indy pulls the
headpiece from his robes - it has been welded together - and
reaches for the staff.

EXT. ABOVE THE MAP ROOM - DAY

An extremely nervous Sallah has the gathered rope in his
hands and is trying to appear casual as he inches back toward
the oil drum. There is now a good bit of activity going on
up here.

JEEP GERMAN (O.S.)
Hey! You, the skinny one!

Sallah jumps about three feet. The JEEP GERMAN is standing
in an open space ten yards away looking at Sallah.

JEEP GERMAN
Yes, you. What are you doing there?

Sallah gestures his innocence.

JEEP GERMAN
Well bring that rope over here, you
cur.

The Jeep German starts back toward his major concern: his
jeep is stuck in some sand beyond the next tent. Some Arab
Workers are trying in vain to budge it. Now another German
has backed his truck up to it. Sallah can think of nothing
to do expect obey. With a worried glance at the map room, be
begins untying the rope from the oil drum.

INT. THE MAP ROOM

Indy is examining the results of Belloq's work. Red paint
marks one of the miniature buildings in the layout and a
white calibrated tape has been strung from that building
back to a miniature of the map room. Now Indy begins examining
the mosaic base line for the staff. Sunlight has moves further
down across the miniature.

EXT. IN THE CAMP - DAY

Sallah watches nervously as his precious rope is pulled taut
between the pulling truck and the stuck jeep. He doesn't
notice that he has chosen to stand next to a large, steaming
kettle of food until -

HUNGRY GERMAN (O.S.)
Bring us some of that!

He points to the kettle. Sallah looks frantically from the
rope, back to the skylight of the map room, to the kettle of
food.

HUNGRY GERMAN
Now, idiot!

Sallah picks up some serving pieces and gets to work.

INT. THE MAP ROOM

The moment has arrived. Even the tension of the circumstances
cannot distract Indy from the purity of what he is about to
do. All his calculations are adjustments complete, Indy takes
the Staff of Ra and places it - CLINK! - in the right
depression on the base line. This is as active and exciting
a moment as any archeologist can dream of and, at heart,
that is exactly what Indy is. The sunlight catches the very
top of the headpiece and moves within a fraction of an inch
of the tiny hole in its sun.

The edge of the sunlight moving across the miniature city is
still a good two feet beyond the spot Belloq has settled on.
And now that line of light is broken by the shadow of an
ornate sun at the top of the staff.

Indy's face reflects his concentration. And then his immense
pleasure. He sees what he came for.

Out of the miniature city, one small building is being lit
by a tiny beam of sunlight in the center of the shadow of
the metal sun. And by some trick of ancient artistry, this
one building responds to the sunlight like none of the others.
The golden light permeates it: it seems to glow. The building
is in a direct line with Belloq's - all the Frenchman's other
calculations were right - but it is a foot and a half beyond
it.

EXT. IN THE CAMP - DAY

Sallah, sweating profusely, has finished serving the line of
Breakfasting Germans and now heads back to replace the kettle
and get away.

HUNGRY GERMAN
Water. Bring us water.

INT. MAP ROOM

Indy is on his knees at the miniature city, a special tape
measure in his hand. Indy has the tape strung from Belloq's
mistaken spot to his own correct spot. He gets his reading,
leaps up and crosses to the erect staff. He pulls the
headpiece off the staff and hides it in his robes. He quickly
breaks the wooden staff in two and throws the pieces behind
a pile of debris. Then he moves quickly to beneath the
skylight.

INDY
(stage whisper)
Sallah.
(he waits, then louder)
Sallah!

More waiting. Nothing. Indy looks around for some alternative
means of escape. The room doesn't offer any. He looks up at
the skylight again.

INDY
(loudest)
Sallah!

A long pause. Then something comes down. A makeshift rope.
Really just a bunch of clothing tied together - tunics, robes,
pants. But what we see first and most prominently, the first
section of Indy's escape rope, is a bright Nazi flag. Indy
beams and climbs.

EXT. ABOVE THE MAP ROOM - DAY

Indy sticks his head out the skylight, sees it clear and
flops his body out. Sallah, crouching behind the oil drum,
immediately starts pulling in the makeshift rope. Sallah
stuffs the rope in the oil drum and the two men begin waking
toward some tents.

HUNGRY GERMAN (O.S.)
Hey, you! More water over here!

Sallah glances at Indy, Then hurries back in that direction.
The Hungry German focuses on Indy.

HUNGRY GERMAN
Why aren't you at the digs? Come
here!

Indy bows in wild subservience and hurries off in the opposite
direction.

HUNGRY GERMAN
(yelling after him,
irritated)
No, dummkopf, I said come!

EXT. BETWEEN TWO TENTS - DAY

Indy hustles between the tents. Up ahead, two German Officers
stop to talk, blocking his exit. He moves along the side of
one of the tents until he finds an opening and slips inside.

INT. THE TENT

Indy finds himself in a tent set up for rather comfortable
living. He has just started to cross it when he hears a loud,
excited grunting. He turns toward the sound. In the corner,
tied to a chair and gagged is Marion. Indy rushes to her,
snatches the gag from her mouth and embraces her. They kiss,
deep and long.

INDY
I though you were dead.

MARION
They were throwing me around like a
rag doll.

INDY
They must have switched baskets.
Thank god for that! Bless those
bastards. Have they hurt you?

MARION
No. Not since I got here. They just
asked about you - what you knew. The
Frenchman's got the hot's for me.
I've been playing that along. Oh,
Indy, get me out of here.

Indy pulls out a knife and then stops suddenly, thinking.

MARION
What's wrong?

INDY
(putting the knife
away)
I have to leave you here for a little
while. I know where the Ark is. If I
take you out of here they'll start
combing the place for us.

MARION
(louder)
Cut me loose!

INDY
Keep your voice down.

MARION
(screaming)
I said get me out of -

Indy pops the gag back in her mouth. Her eyes widen in fury
and she grunts obscenities at him.

INDY
Look, you don't know how glad I am
to see you. And I don't like doing
this. But the whole thing will be
shot if you don't just sit here
quietly. They haven't hurt you in
the last twenty-four hours, they
aren't going to start now. I'll be
back to get you in no time.

He kisses her forehead, jumps up and hurries out of the tent.

EXT. SAND DUNE OUTSIDE DIGS - DAY

With the digs behind them, Indy and Sallah run up to the
ridge of the dune and over the top. At the bottom of the far
side, Omar's truck is parked. Omar and his men are waiting.

EXT. DIFFERENT DUNE - DAY

This new spot gives Indy a higher, better view of the whole
scene. Indy is using a surveyor's instrument to take a reading -

WHAT HE SEES

Looking through the instrument, Indy gets a line from the
map room through the site where the Nazis are digging in the
dunes to a spot several dunes over. We focus on that virgin
spot of well-hidden sand as -

INDY
There!

EXT. INDY'S DIG - DAY

Omar's truck is parked at the spot just viewed from afar.
Dunes rise on either side. One of Omar's men has been posted
as a lookout up on a ridge. Everybody else - Indy, Sallah,
Omar, and his men - have begun digging for the Wells of the
Souls.

DISSOLVE TO:

SAME SCENE - NIGHT

They continue to dig furiously, all of them drenched in sweat.
The hole has grown but this is slow, back-breaking work.

INT. COMMAND TENT - TANIS DIGS - NIGHT

Belloq, SHLIEMANN the ranking Nazi, and Shliemann's Aide,
GOBLER, come into the tent, which is full of charts and maps,
drawings of the Ark, radio equipment, liquor and food. The
men have been out digging for the Well all day. They are
tired, discouraged, testy. In all matters, Gobler shows his
alliance with Shliemann against Belloq with small looks and
body language. The Frenchman has disappointed them and he is
feeling the isolation of a scapegoat. Belloq gets himself a
drink as Shliemann towels off his face.

BELLOQ
I cautioned you about being premature
with that communiqué to Berlin.
Archeology is not an exact science.
If does not adhere to time schedules.

SHLIEMANN
The Fuhrer is not a patient man. He
demands constant reports and he
expects progress. You led me to
believe -

BELLOQ
Nothing. I have made no promises. I
said only that it looked very
favorable. Perhaps the Ark will still
be found in an adjoining chamber.
Based on the information in our
possession, my calculations were
correct. Perhaps some bit of evidence
still eludes us. Perhaps

GOBLER
Perhaps the girl can help us.

Belloq shoots him an angry look.

SHLIEMANN
My feeling exactly. She was in
possession of the original piece for
years. She may know much.
(really evil)
If properly motivated...

BELLOQ
I tell you, she knows nothing useful.

SHLIEMANN
I'm surprised to find you squeamish.
That is not your reputation. But it
needn't concern you. I have the
perfect man for this kind of work.

Shliemann signals Gobler, who steps outside the tent a moment,
calls someone and then reappears. Belloq looks warily at the
entrance. After a moment Belzig enters, reeking villainy.
When his eyes find Shliemann, his superior, he snaps a crisp
"Heil, Hitler!" at him, holding his palm rigid a long time,
exposing a burned scar in the prefect shape of the sun
medallion.

EXT. INDY'S DIG - NIGHT

In the eerie conjunction of moonlight and torchlight, Indy
and the other men step back in awe of their discovery: there,
flush with the bottom of their pit, is a heavy stone entry
door to an underground chamber. Special prying tools are
produced. With two men assigned to each of the two long tools,
they work in unison to open the vault. They open it a foot
and the other men rush in to flop the heavy door completely
open. Down inside, only blackness.

The men quickly prostrate themselves around the edge of the
entry to look inside. Indy and Sallah each take a torch and
hold them down the hole.

WHAT THEY SEE

The Well of the Souls is a spooky chamber thirty feet deep.
The walls are covered with hieroglyphics and carvings. The
roof is supported intermittently by stone pillars, the closest
of which hits the roof very near the entry hole. The Well is
quite large; as Indy and Sallah wave their torches, more and
more of the room is revealed. Now the far end of the chamber
comes into view. There is a stone altar down there and on
this elaborated carved platform is a stone chest, big enough
to enclose the Lost Ark and protect it from the ravages of
time. This altar appears to be the only place on the floor
of the Well that is not covered by a strange, dark carpet of
some kind.

INDY
The Ark must be in that stone case.
What's that gray stuff all over the
floor -

He breaks off realizing exactly what that carpet is. He
blanches. Indiana Jones blanches.

Indy drops his torch to the floor of the Well. This is
answered by the most horrific HISSING imaginable.

WHAT HE SEES

That think dark carpet is moving. It's alive. It's thousands
and thousands of deadly poisonous snakes - Egyptian asps.
And the only thing that seems capable of avoiding this
venomous groundcover is the altar. The snakes ebb and flow
near it, but never encroach on it, as though repelled by
some invisible force.

Indy shakes his head and talks to himself.

INDY
Why snakes? Why did it have to be
snakes? Anything else.

After a moment of this, he stops. He gathers his energy and
resolve and gets back to the task.

SALLAH
Asps. Very dangerous.

Where Indy's torch had landed is a circle of snake-free floor.
The snakes hate the flame; they stay away.

INDY
Lots of torches. And oil. I want a
landing strip down there.

INT. THE WELL OF THE SOULS

Fifteen torches have been dropped to the floor of the chamber,
combining to make a good-sized clear zone. Smoke begins to
fill the room. Several canisters of oil have been lowered
into this space. Now, a large wooden crate is lowered slowly
by rope. Rope handles are attached to each end of the crate.

Up at the hole, Indy gives Sallah a reassuring pat, takes a
breath, and swings carefully onto a rope hanging from the
hole. Despite his care, he swings a bit and his feet hit the
stone pillar which is so near the entry. Surprisingly, the
pillar actually moves a bit, showering a light rain of
crumbled stone to the floor below.

Indy lands on the floor of the Well. He looks at the altar
over a sea of undulating death. He picks up an oil canister
and splashes two parallel lines of oil and lights them. A
path six feet wide begins to open to the altar. Behind Indy,
Sallah comes quickly down the rope.

We begin to INTERCUT all the action in the Well from here on
with insert shots of the snakes outside the flames. Snakes
and snakes. We see: snakes piled and entwined six inches
deep; mother snakes laying snake eggs; snake eggs hatching
little snakes; snakes cannibalizing other snakes.

INT. MARION'S TENT

Belloq has been talking to the still-bound Marion. He has
removed her gag. He is impatient, angry, uncomfortable. Caught
between two forces.

BELLOQ
Believe me, you made a mistake. If
you would just give me something to
placate them. Some bit of information.

MARION
I swear to you, I know nothing more.
I have no loyalty to Jones. He's
brought me only trouble.

He wants to believe her.

BELLOQ
I cannot control them.

Marion's frightened look shifts suddenly to the entrance of
the tent. There are new arrivals there - Shliemann, Gobler
and Belzig. Belzig carries a black leather case. He steps
forward and smiles at Marion.

BELZIG
We meet again, Fraulein.

EXT. INDY'S DIG - JUST BEFORE DAWN

The sky is just beginning to lighten over the dunes to the
east, making dangerously obvious the thin column of smoke
rising from the entrance to the Well. Omar and his men are
peering through the smoke down into the Well.

INT. THE WELL OF THE SOULS

Indy and Sallah are on the altar. Pushing together with all
their strength, the heavy stone top of the protective chest
begins to slide away. Indy and Sallah exchange slightly wary
but very excited looks, then continue to push. As the Ark
begins to be exposed, the air seems to almost vibrate, to
become electrostatically charged. We hear what sounds like a
low HUM. The sea of snakes around the altar draws back further
from this presence.

As the top of the stone chest is pushed completely off and
slams down beside it, we see THE LOST ARK OF THE COVENANT.
It is awesomely beautiful, breathtaking. 4 feet long, 2.5
feet wide and 2.5 feet high. It's height, however, is
increased by the two sculptured gold angels mounted facing
each other on the top. Though the body of the Ark is acacia
wood, it has been overlaid with gold. An elaborate gold crown
surrounds the top edge and gold carrying rings are attached
to each corner.

Sallah is mesmerized by the sight. His hand starts to reach
out and touch one of the angels, but Indy grabs it.

INDY
Don't touch it! Never touch it!

The wooden crate stands open next to the stone chest. Now
Indy extracts the wooden poles from its rings and begins
fitting them through the rings in the Ark. This takes some
maneuvering by the two men, but soon they are able to lift
the Ark clear of the stone chest and into the wooden crate.
They extract the poles, fasten the top of the crate and stick
the poles through the rings of the wooden crate. They start
back toward the space under the hole.

The fire strips have begun to dwindle, as have some of the
torches. The snakes move slowly in toward the clear spaces.
Indy and Sallah eye them nervously as they hurry along with
their heavy load. Under the hole, they hurriedly attach ropes
to the wooden crate and it is pulled up. Indy's concentration
is on the tide of snakes.

INDY
Hurry up! Why did it have to be
snakes?

Sallah takes the next rope and climbs quickly out of the
Well. Indy has picked up a torch and now throws it at a pool
of snakes who are too close for his comfort. He turns and
takes hold of the exit rope. He gives it a first tug and it
falls down into the Well, landing partly beyond the ring of
fire where is instantly disappears in a tangle of angry,
hissing asps. Indy looks up at the hole.

INDY
What the -

Smiling down at him from the perimeter of the entry are
Belloq, Shliemann and Gobler.

BELLOQ
Why, Dr. Jones, whatever are you
doing in such a nasty place?

Belloq and the Germans laugh.

INDY
Why don't you fellows come down here?
I'll show you.

BELLOQ
No thank you, my friend.
(he glances around
him)
I think we are all very comfortable
up here.

EXT. INDY'S DIG - DAWN

Sunlight is flooding this tableau: Sallah, Omar and his men
are being held at bay by ten armed Nazis. The wooden crate
sits safely nearby. Belzig and another Nazi have the gagged
Marion held in their rough grasp.

BELLOQ
(down to Indy)
After all these years, it is most
considerate of you to aid me in this
way.

As Belloq speaks, Shliemann exchanges a look with Belzig.
Belzig smiles and takes the gag from Marion's mouth.

INT. WELLS OF THE SOULS

Shliemann smiles down at Indy.

SHLIEMANN
I'm afraid we must be going now, Dr.
Jones. Our prize is awaited in Berlin.
But I do not wish to leave you down
in that awful place...
(he give a sign)
...all alone.

Belzig and the Nazi move Marion to the hole and, to Belloq's
surprise, push her in. Marion falls thirty feet screaming.
Indy drops his torch, braces, and catches her! Her weight
knocks him to the ground, almost into the snakes. She looks
around at the snakes, clinging to him more desperately as he
struggles to his feet trying to unload her.

MARION
Don't put me down!

Up at the hole, there's plenty of dissension.

BELLOQ
The girl was mine!

SHLIEMANN
She is of no use to us. Only our
mission for the Fuhrer matters.

Shliemann glances meaningfully around at the other Nazis.

SHLIEMANN
I wonder sometimes, Monsieur, if you
have that clearly in mind.

Belloq feels how much he is the outsider, his own
vulnerability. He backs down with the wisdom of survival. He
turns to look down at Indy and Marion. His manner is gallant.

BELLOQ
Goodbye, mademoiselle.
(a pause, then with
respect)
Indiana Jones... adieu!

Belloq and the others step back from the hole and unseen
Nazis slam the heavy stone door into place. Marion screams.
Her scream is accompanied by -

A huge WHOOSH! as air is sucked out and the chamber is sealed.
Half of the torches still burning go out with the sound. The
remaining torches continue to extinguish at punctuating
intervals throughout the following action and the snakes
immediately flood into the newly-darkened spaces. Indy puts
Marion down and snatches up two burning torches. He hands
one to Marion.

INDY
Don't panic. There's plenty of time
for that later. Wave that at anything
that slithers.

Indy holds his torch out like a lantern and begins a slow O-
turn, his eyes peering into the gloom, examining every inch
of wall and ceiling.

MARION
What are you doing?

INDY
Just watch the floor.

Reminded of the encroaching snakes, Marion waves her torch
at the nearest edge of their circle. She looks faint. Indy
continues his slow turn.

MARION
Whatever you're doing, do it faster.

INDY
(he spots something)
There!

His head whips around, looking at the pillars around the
room. He sees what he wants. He grabs one of the oil
canisters, looks back to the spot on the wall he's chosen
and splashes oil on the floor in that direction, then lights
it. A path opens toward that wall.

INDY
Come on!

Marion is frozen in her spot. Indy drags her after him. He
splashes oil the rest of the way to the wall. It lights and
Indy pulls Marion over to the wall. He pours the remaining
oil in a circle around them, creating a safe zone there.

INDY
Stay here!

MARION
(grabbing him)
Where are you going?

INDY
I'll be back in a minute. We're going
through this wall.

Marion looks at the wall, which looks like all the rest to
her. She thinks he's crazy.

INDY
Just keep your eyes open and get
ready to run. No matter what happens
to me.

MARION
(panicked)
What do you mean?

Too late. Indy runs back through the path of flames to the
center of the room. Snakes strike as his flying heels. Indy
reaches the base of the pillar which he touched briefly on
his original descent. He uses his torch to clear away the
scattered snakes climbing on it, then pulls out his whip. He
draws it back, then wraps is solidly around the pillar 15
feet up. With the torch in his mouth, he begins climbing the
pillar. It moves ominously under his weight.

The last two torches still burning on the floor go out. Now
the only light in the chamber is provided by the torches
held by Indy and Marion and the dwindling oil flames. Snakes
move in and surround the base of Indy's pillar. The path
between Marion and the center of the room is overrun. The
circle of flame around Marion is dying down. She looks beyond
it with terror-widened eyes, then up through the increasing
smoke at the distant Indy.

Near the top of the pillar, Indy's hands strain along his
taut whip, which he has moves higher. A snake slithers into
view there, inches from Indy's straining face. Indy turns
his head so the torch in his mouth can burn it. The snake
falls from the pillar. Indy's torch is dwindling. Indy works
his body around so that he is on the side of the pillar away
from Marion. The pillar moves, showering dust. Indy looks at
the chamber wall five feet away, takes a breath and swings
his legs up against it. He is now braced between pillar and
wall.

MARION (O.S.)
(screaming)
Where are you?!

Snakes are moving in force up the pillar toward Indy's
dwindling torch. Indy grasps the pillar for dear life,
grimaces with exertion and pushes against the wall with all
he's got. The pillar begins to break loose of the ceiling,
then stops. Indy's eyes are on the torch. It is just a spot
of flame now. Snakes are sliding up toward his hands. Indy
again pushes against the wall and the torch falls out of his
mouth.

The pillar goes! In the dim light, we see it fall like a
tree directly at Marion. Indy rides it down. The top hits
the wall three feet from a cringing Marion and smashes through
to a black chamber beyond. Indy flies off into the darkness.
Gone. Marion clutches her torch at the black hole.

MARION
Indy! Where are you?! Please Lord!

There is a moment that seems an eternity, then Indy appears
like an apparition out of the void.

INDY
Come on!

He grabs her and helps her over the remains of the wall into -

INT. THE CATACOMBS

The winding string of connected chambers is revealed to them
only a few feet at a time as their torch lights the way.

MARION
The snakes... are they here?

INDY
I guess not. I think I'd be dead.

MARION
Do you know where you're going?

INDY
Absolutely.

MARION
Thank god. Where?

INDY
Out.

They round a corner and flush a covey of bats. Marion screams.

INDY
Don't do that. It scares me.

Marion gives him a look. They round a corner and begin a
walk through a maze of chambers that present for their
inspection: moldering mummies and stacked sarcophagi; a room
decorated with a thousand human skulls; a wall crawling with
huge scarabaeid beetles. Marion is quite naturally a nervous
wreck; she jumps when Indy grabs her suddenly and points.

INDY
Look!

WHAT THEY SEE

There, coming through the crack in the corner of the next
chamber, is white blessed sunlight.

EXT. THE TANIS DIGS - NEAR AIRSTRIP - DAY

Indy and Marion peek out into the light from the shadows of
an abandoned excavation. Before them is the improvised
airstrip serving the digs: a crude runway, a tent supply
depot, two fuel tank trucks. Down by the fuel trucks a German
Mechanic is looking skyward. Now Indy and Marion look there
too, drawn by the roaring sound of -

A Flying Wing, which is circling over the digs in preparation
to landing.

Now a new figure approaches the German Mechanic. It is Gobler;
he yells to the mechanic, indicating the plane.

GOBLER
Get is gassed immediately! It has an
important cargo to take out!

In the distance, the Flying Wing lands and rolls toward the
men. Gobler spins and heads back toward the main camp, which
is hidden from view by a rise. Indy and Marion watch him go.

INDY
When the Ark gets loaded, we're
already going to be on that plane.

The Flying Wing rolls up into the space near the fuel trucks.
The German Mechanic puts blue blocks in front of the tires
as the engines continue to roar.

Indy and Marion run in a crouch to a hiding spot closer to
the plane, near the supply tent. Suddenly, a Second German
Mechanic appears behind them. He is as surprised as they
are, but recovers quickly and swings a big monkey wrench at
Indy. Indy grabs the swinging arm and the two men tumble out
into the open, wrestling. Marion remains hidden, moving fast
among the crates.

The first German Mechanic, who is just pulling the fuel hose
from the tank truck to the plane, sees the combatants and
runs to help his countryman. He is almost upon them when
Indy puts the Second German away with a devastating left -
right - left combination. He turns to find the first German
Mechanic flying at him. The roll toward the rear of the Flying
Wing and its lethally spinning reversed propellers.

In the cockpit of the Flying Wing, the Pilot has been fiddling
with his gauges just prior to shutting off his engines. Now
he notices the fight going on outside.

The fistfight between Indy and the German Mechanic has taken
on a new stomach-tightening dimension. The men are fighting
and flailing in and out between the spinning props at the
back of the plane's wings. Each man comes within inches of
becoming instant mincemeat.

The Pilot slides away the top of his cockpit and stands up.
He pulls a Luger from his side and points it, waiting for a
clear shot at Indy. The German Mechanic kicks Indy away from
him and the Pilot aims his pistol. Suddenly, Marion appears
behind the Pilot, standing on the opposite wing, and bashes
him over the head with one of the blue blocks that was holding
the tires. The Pilot drops down into the cockpit, his body
falling on the throttle. The engines roar louder, revving
up. The plane begins to roll, rotating around its one still-
blocked set of tires. Marion grabs onto the cockpit to keep
from slipping into the props. She bends into the cockpit,
trying to pull the Pilot's body off the throttle. No luck.
She grimaces and climbs inside. Her shoulder bumps the top
of the cockpit; it slides tightly shut above her.

Under the moving wing, Indy delivers a knockout rightcross
to the German Mechanic which sends him staggering back toward
a roaring propeller. Indy's grimace registers the man's demise
and a fine mist of blood wafts toward him. Indy spins toward
the sound of crumpling metal and sees -

The other prop of the Flying Wing slice into a tank truck.
The airplane fuel inside floods out onto the pavement,
surrounding the plane. Indy backpedals away from the plane,
his eyes searching the scene for Marion. Suddenly, he is
shocked to see her in the cockpit. He runs toward her,
skidding through the gasoline.

INDY
Get out! Get out!

Marion is struggling with the top of the cockpit. She can't
budge it. She's trapped.

EXT. THE COMMAND TENT - DAY

Three Armed Nazis stand guard around the wooden crate
containing the Ark. It is sitting near the flopped-open
entrance to the Command Tent and there is furious activity
going on here. Belloq, Shliemann, Gobler, Belzig and assorted
Aides are packing up all the papers and personal items in
preparation for a hasty departure.

A large crowd of Arab Diggers is milling about among the
tents. They all want to get a look at the Ark. Sallah is
among them. All at once, there is a earthshaking explosion.
Al eyes turn toward the rise that hides the airstrip. A huge
fireball floats into view over there. Everyone starts running
toward it. Shliemann yells at Belzig and the Armed Nazis.

SHLIEMANN
Stay with the Ark!

EXT. THE RISE ABOVE AIRSTRIP - DAY

Almost all the Arabs and Germans in the digs have congregated
here and are staring at the burning remains of the Flying
Wing. Belloq and Shliemann arrive just as the second fuel
truck blows up. The concussion knocks many of the observers
flat. Belloq, Shliemann and Gobler watch the scene in alarm.

SHLIEMANN
Sabotage!

BELLOQ
We must get the Ark away from this
place immediately!

SHLIEMANN
(to Gobler)
Have it put on the truck. We'll fly
out of Cairo.

Gobler snaps his heels, turns to go.

SHLIEMANN
And Gobler -
(Gobler stops)
I want plenty of protection.

Gobler nods and runs off. Shliemann heads back toward camp.
Belloq hesitates a long moment, studying the burning wreckage
with an odd, suspicious look. Finally, he turns and leaves,
passing a nearby stack of barrels. When he has passed, Sallah
appears from among the barrels. He searches the crowd for
his people and starts a broken field run along some tents to
avoid a group of Germans and is running flat-out when someone
sticks out a leg and sends him flipping. Sallah, dust all
over his face, looks angrily toward the concealed culprit.
At once, a flashing white grin splits his darkened face.
Indy and Marion, splotched with soot and oil, are hiding in
the flap of a tent. Sallah runs into their arms and the three
embrace warmly. When they break -

SALLAH
Holy smoke, my friends! I am so
pleased you are not dead.

MARION
Us too.

SALLAH
(suddenly remembering)
The Ark! They're taking it on a truck
to Cairo.

INDY
Where is it?

Sallah gestures to follow and all three run off stealthily
through the mostly deserted camp.

EXT. AMONG THE TENTS - DAY

Sallah, Indy and Marion run into a hiding spot behind some
water barrels near the Command Tent. They peek out at this
activity -

In the big space near the Command Tent is parked an open
German staff car; inside is a Blond Driver and an Armed Guard.
Directly behind it is a canvas-topped troop truck. At this
moment, Belloq and Shliemann are supervising the careful
placement of the crated Ark in the back of the truck. When
it is securely placed inside, we hear an ominous marching
sound and Nine Armed Nazis appear at a trot from between
some tents and climb into the back of the truck with the
Ark.

Behind the water barrels, Sallah and Marion exchange hapless
looks, But Indy just concentrates on -

The scene by the truck: Belloq and Shliemann are about to
climb into the front staff car when they pause to check out
the final component of the convoy. Rolling into place behind
the truck is another open staff car. But this one is special -
mounted in the back is a big, black machine gun, manned by a
Gunner. At the wheel of the car is Gobler and next to him
sits Belzig.

Sallah and Marion look at Indy. Belloq and Shliemann climb
in the back seat of the front car and the caravan pulls out.
Indy watches it go, thinking hard.

INDY
You two get back to Cairo quick and
get us transportation to England - a
plane, a ship, anything.

MARION
What about you?

INDY
I'm going to get that truck. I'll
meet you at Omar's. Be ready for me.

Sallah nods. Marion looks at him like he's nuts. Indy jumps
up, looks around desperately.

MARION
How are you going to get that truck?

INDY
(still searching)
I don't know. I'm making this up as
I go.

He runs away between two tents.

EXT. AT THE EDGE OF THE DIGS - DAY

From among the tents, Indy suddenly bursts into view, happily
astride a magnificent white Arabian stallion. He gallops off
across the desert.

EXT. THE DESERT (VARIOUS SHOTS) - DAY

Indy cuts cross-country avoiding the road the convoy has
taken. He leaps gullies, climbs dunes, slides down slopes.
Soon the convoy comes into view far below him. He tears along
a parallel ridge, like an Indian shadowing a wagon train.

EXT. DESERT ROAD - DAY

The convoy is entering rougher country. The narrow mountain
road we've seen earlier ascends ahead. To the side of the
road are tall boulders. Suddenly, Indy shoots out from between
two rocks and rides directly for the truck. The Armed Nazis
in the back of the truck can see nothing because the canvas
hides their view. But Gobler, Belzig and the Gunner in the
rear staff car have a brief line on him. Belzig points and
the Gunner fires away and Indy, the bullets kicking up sand
near Indy's horse.

The Armed Guard in the cab of the truck leans out to see
what's happening. Indy has been riding alongside. Now he
stands on the horse and leaps to the cab. In a second, he
has flipped the Armed Guard out of the truck. He slides into
the cab and begins grappling with the Truck Driver. The Truck
Driver tries to hit the brakes, but Indy kicks his foot away
and floors the gas pedal. The truck doubles its speed and
shoots onto the steep mountain road.

EXT. MOUNTAIN ROAD - DAY

The Blond Driver of the front staff car sees the truck move
up on him in the rearview mirror and speeds up. Belloq,
Shliemann and the Armed Guard in the car twist around to
look at the struggle in the truck. The Blond Driver begins
what will be a continuing preview of the twists in the road.
He turns his wheel sharply and takes the lead car around a
bend.

In the cab of the truck, Indy and the Truck Driver stop their
fight temporarily and cooperate in turning the steering wheel.
The truck barely stays on the road.

A full view reveals the incredible geography of this ride.
The convoy in tiny against the spectacular mountainside, the
cliffs drop hundreds of feet.

At the wheel of the rear car, Gobler swerves to stay on the
road and accidentally sideswipes a boulder. The Gunner perched
in the back is flipped head over heels out of the car. Gobler
and Belzig are having trouble seeing the road through all
the dust the convoy is kicking up.

The lead staff car reaches the summit of the road and barely
makes the hairpin turn there, delivering a destructive blow
to the guard rail that has been placed there. The guard rail
is now bent.

In the cab of the truck, Indy and the Truck Driver again
stop trying to choke each other long enough to negotiate the
turn together. The bumper of the truck hits the broken guard
rail and sends it flying off the cliff. The truck, however,
holds the road.

In the rear car, Gobler and Belzig are trying to see through
the thick clouds of dust. Suddenly is clears completely.
Unfortunately for them, this happens because their car has
shot out into space at the hairpin turn. They are flying to
their final reward. Belzig, eyes wide behind his evil
spectacles, screams as he goes.

In the cab of the truck, the Truck Driver is distracted by
the sight of the flying staff car. Indy plasters him and he
tumbles out.

Far, far below, Belzig's staff car explodes on the rocks.

In the back of the truck, a TOUGH SERGEANT takes command of
the situation. He picks out six Armed Nazis and motions for
them to start climbing around the outside of the truck to
the cab. With some trepidation the lucky ones begin that
maneuver. The truck is swerving like crazy.

In the front staff car, the Armed Guard aims his submachine
guns back at Indy, alone now in the truck's cab. Shliemann
knocks the barrel roughly away.

SHLIEMANN
(yelling)
If anything happens to that Ark,
we're all dead men ! The Fuhrer will
see to it!

Indy sees this from the cab and reacts by speeding up, putting
even more pressure on the Blond Driver.

Along the back of the truck, Armed Nazis are edging up toward
the cab, three on each side. They hang on as the truck rounds
a corner and goes into a straightaway that leads through a
short tunnel.

In the cab, Indy has been concentrating on the lead staff
car. Now, just before entering the tunnel, he looks in the
side view mirror and sees the Nazis on his side. A quick
glance to the other mirror reveals the others. As the truck
sweeps into the tunnel, we see Indy just start to turn his
steering wheel - he is going to sideswipe the walls of the
tunnel

At the other end of the tunnel, we hear the roar of the two
engine and two long, screeching, scraping sounds. The lead
staff car shoots out of the tunnel, then the truck, its sides
cleaned of Nazis.

In the rear of the truck, the Tough Sergeant is looking with
distaste back at the tunnel. There remains only him and two
Armed Nazis with the Ark. He sends these two climbing up
over the top of the truck.

In the lead car, the Blond Driver is being pressed hard by
Indy, who now edges up to bump them from the rear. Suddenly
the Armed Guard next to the Driver sees the two Armed Nazis
appear on the top of the truck. Without thinking, he starts
to point them out to Shliemann, then realizes his stupidity.

In the cab, Indy has seen this and is at first mystified. He
checks his sideview mirrors. Then he figures it out and slams
on his brakes. The brakes lock, the wheels burn and the truck
skids to a dusty halt. The two Armed Nazis fly off the truck,
over the cab to the road in front. Indy immediately hits the
gas again. The two Armed Nazis, just aiming their weapons,
get wiped out.

In the rear of the truck, the crated Ark is bouncing all
alone, no one in sight, because -

The Tough Sergeant is on the top of the truck, making his
way steadily forward. This guy clearly knows what he's doing.
A submachine gun is slung across his back.

The truck and the staff car race through a series of S-curves.
In the staff car, Belloq and Shliemann spot the Tough Sergeant
as he reaches the front of the truck's top and begins to
lower his submachine gun barrel toward the cab. Indy is
unaware. Belloq and Shliemann exchange looks. Then Shliemann
yells to the Armed Guard in the front seat.

The Tough Sergeant has a line on Indy. He points his gun.
The Armed Guard blasts away at the truck. The Tough Sergeant
dies in a hail of bullets and flies off.

Indy, who has ducked at the gunfire, is confused. But when
he sees the Armed Guard up front lower his gun, Indy again
floors it and begins bumping the staff car in earnest.

The road is almost down to a level now. In the distance -
Cairo. The road takes a little dogleg just before reaching
level ground again. Just as the staff car is about to make
the turn, Indy smashes them from behind. The staff car flies
off the road and down a twenty foot embankment. Indy takes
the truck speeding down the road and off toward Cairo.

In the staff car, the occupants are bruised but safe.
Shliemann points at the departing truck and yells at the
Blond Driver. The staff car fishtails out of its sandy resting
place and takes off after the truck.

EXT. OUTSKIRTS OF CAIRO (VARIOUS SHOTS) - DAY

Indy has an ever-decreasing lead on the staff car as the
race thunders into the narrow streets. People and animals
leap out of the way; carts and barrels go flying helter
skelter. Indy takes the truck down a street so narrow there
are only inches to spare on each side. Pedestrians jump into
doorways.

EXT. OMAR'S SQUARE - DAY

When the truck clears the narrow street, it is in a small
square. Omar's garage is gaping open on the opposite side.
Indy hits the brakes and the truck skids across the square
and into the garage. The garage door slams shut and tenting
drops from the building to hide the door. Various Arabs,
friends of Omar, rush out with fruit carts and baskets and
set up a mini-bazaar in seconds. Two Arab Boys sweep the
tracks of the truck into oblivion. They throw aside their
brooms just as the staff car appears from the narrow street.
Belloq and Shliemann look around desperately as the Blond
Driver steers the car through the square and out the other
side.

EXT. CAIRO DOCKS - NIGHT

The waterfront is dark and misty. An old tramp steamer, the
BANTU WIND, sits by the pier. Several fierce Black African
Pirates, the crewmembers, are taking on final stores.

A small light illuminates the top of the gangplank. In its
circle, Indy and Marion exchange long, warm embraces with
Sallah. A short distance away the ship's Captain, a handsome,
powerful black named SIMON KATANGA, watches from the rail,
smoking a pipe.

DISSOLVE TO:

EXT. OPEN SEA - THE MEDITERRANEAN - NIGHT

The Bantu Wind is bathed in moonlight as it cuts across even
seas.

INT. INDY'S CABIN - NIGHT

Indy comes in, takes off his hat, jacket, whip and holster.
The door which connects this cabin to the next opens and
Marion appears. She is carrying a half-full glass of liquor,
but what you notice is the long, snow-white, high-necked
nightgown she is wearing. It is very prim. Very innocent.
And very sexy. Marion does a slightly embarrassed model's
turn for Indy.

MARION
I have a feeling I'm not the first
woman to travel with these pirates.
There's a whole wardrobe in there.

INDY
It's lovely.

Indy sits on the cot, takes off his boots. He leans back
against the wall and rubs his eyes. Marion sits on the bed,
leans back against the wall with him and looks down at her
white nightgown. She chuckles.

MARION
I feel like a virgin bride in this.

INDY
That's what you look like.

MARION
(takes a drink)
There are some things you can
recapture in this life, but that
isn't one of them.

INDY
What would you like to recapture?

MARION
(after a long pause)
Nothing. That is the way it is.

He watches her closely as she drains her glass and puts it
down.

INDY
Did I ever say I was sorry I burned
down your tavern?

She turns so their lips are very close.

MARION
No. Then again, I burned up that
plane.

INDY
You saved my life.

MARION
And you saved mine.

INDY
Seems things have worked out kind of
even.

MARION
That's the way I like them.

INDY
Maybe we should consider all past
accounts closed.

Marion thinks about this a long time.

MARION
No. Not yet.

INDY
What else?

She looks into his eyes. A smile jumps from her lips to his.
He kisses her and they sink slowly to the cot.

INT. IN THE HOLD

The ship's rats are agitated. They tremble and chatter at
the edges of the compartment, darting about. Out in the center
of the hold, sitting all by itself, is the crated Ark. HUM-M-
M-M.

INT. INDY'S CABIN - DAY

Marion awakes with a start, alone in the cot. Something's
wrong. The ship is quiet. Indy is strapping on his holster.
He pulls his ship and jacket from a hook.

MARION
What is it?

INDY
The engines have shut down.

MARION
Why?

INDY
I'm going to find out.

EXT. LOWER DECK - DAY

Indy runs toward the bow, then climbs some steps four at a
time. A MESSENGER PIRATE is hurrying to get him, but flies
by him on the steps. By the time the Pirate stops himself,
Indy is gone.

MESSENGER PIRATE
Mister Jones! The Captain he say -

EXT. THE BRIDGE - DAY

Captain Katanga is looking with concern ahead of the ship.
Indy appears behind him.

INDY
What's wrong?

KATANGA
You have most important friends.

Katanga turns quickly, pointing with a sweeping hand. Indy
looks. Arrayed in a rough semicircle around the ship are ten
German Wolf Submarines. All of their deck guns are manned
and trained on the Bantu Wind. Worse, at least five heavily-
armed boarding parties in rafts are closing quickly on the
ship.

INDY
Holy shit.

KATANGA
(fast)
I sent my man for you. You and the
girl must disappear. We have a place
in the hold. Go, my friend!

EXT. UPPER DECK - DAY

Indy tears along the deck. He looks over the rail and sees
two Nazi rafts already next to the ship.

EXT. LOWER DECK - DAY

Indy flies down some stairs and starts to round a corner.
Suddenly he throws himself backwards, out of view. Three
uniformed Nazis are clustered near a cabin door holding the
Messenger Pirate. Now two more come out of the cabin trying
to maintain their grasp on a kicking, yelling Marion. She is
still wearing her white nightgown. More Nazis clamber onto
the deck and head toward Indy, slamming open doors, rousting
Pirates, spouting racial epithets. Indy steps backwards and
fades into the maze of the ship.

EXT. / INT. THE BANTU WINDS (VARIOUS SHOTS) - DAY

The ship is swarming with Nazis. The Black Pirates are herded
forward, subjected to rough physical and verbal abuse by the
Aryan Supermen. The Pirates are clearly under orders not to
resist, but not one of these strong men likes it. They'd
gladly give their lives to rip the throat out of a few Krauts.
In the hold, the door slams open and Nazis pour in; they
smile at the sight of the crated Ark.

EXT. THE BRIDGE - DAY

Captain Katanga watches as his crew is crowded into a circle
of Nazis on the wide deck below him. He is surrounded by
Belloq, Shliemann, and several Nazis, two of whom are holding
Marion. Now the Nazis from the hold appear on the lower deck
carrying the crated Ark by means of the long poles. Belloq's
eyes shine at the sight.

SHLIEMANN
Take it aboard the Wurrfler!

BELLOQ
And be very careful!

The Ark is taken away.

SHLIEMANN
(to a Sergeant below)
What about Jones?

SERGEANT
Not a trace yet, sir!

KATANGA
Jones is dead.

Belloq and Shliemann regard him suspiciously.

KATANGA
We killed him. He was of no use to
us. The girl, however, has certain
value where we are headed. She will
bring a very good price. If that
cargo you have taken was your goal,
then go in peace with it. But leave
us the girl. It will reduce our loss
on this trip.

SHLIEMANN
Savage. You are not in a position to
ask for anything. We will take what
we wish and then decide whether or
not to blow your ship from the water.

Belloq steps forward and puts a proprietary hand on Marion's
arm, fixing Shliemann with a steady look.

BELLOQ
That girl goes with me. It will be
part of my compensation. I'm sure
the Fuhrer would approve.

Shliemann considers.

BELLOQ
If she fails to please me, you can
do with her as you wish.

This appeals to Shliemann's nature. He signals his agreement
with a gesture. Belloq ushers Marion away with her two
keepers.

DISSOLVE TO:

EXT. "THE WURRFLER" - CONNING TOWER - DAY

The Nazis have returned to their subs. Shliemann is on the
bridge with the WURRFLER'S CAPTAIN and the Captain's Aides.
The Captain is an honorable career Navy man.

THE WURRFLER'S CAPTAIN
Colonel Shliemann, all torpedoes are
loaded.

Shliemann nods and continues to stare at the Bantu Wind, as
does the Captain. The Pirate crew is all lined across the
bow. Towering above the others, standing on the rail, proud
and defiant, is Katanga. Shliemann looks at the Wurrfler's
Captain a moment.

SHLIEMANN
What do you think, Captain?

THE WURRFLER'S CAPTAIN
(earnestly)
I think not, Colonel. Nothing is to
be gained. We are not at war.

Shliemann mulls this, then turns to the hatch.

SHLIEMANN
...yet. Let the vermin live. We must
be on our way.

Shliemann disappears down the hatch. The Captain is very
pleased. A Radioman speaks into his headset, then follows
the other Aides down the hatch. In the distance the other
subs begin to move away from the ship. The Captain, alone on
the bridge, looks once more at Katanga.

On the Bantu Wind, Katanga executes what might be taken for
a salute.

The Wurrfler's Captain smiles, salutes crisply, then goes
below, pulling the hatch closed. Immediately, the Wurrfler
begins to move. And as it does, we see the rail at the aft
of the main deck. From nowhere, a wet sleeve appears and a
hand grabs the rail!

Indy pulls his dripping body onto the sub's main deck. He
has lost his felt hat once and for all. Other than that, his
outfit is the same as always, just wetter. Suddenly, water
is washing over his feet; the Wurrfler is beginning to
submerge. Indy runs through quickly deepening water toward
the haven of the conning tower. Halfway there, he slips and
goes down. Only by grabbing the base of the aftmast light
does he keep from being swept away. He struggles to his feet
and sloshes through knee-deep water to the base of the conning
tower.

Indy climbs the ladder to the bridge of the conning tower
and looks down. The water is rising toward his fast. Indy
climbs the ladder to the top of the turret and braces himself
between the two uprights there - the 7 foot radio mast and
the 20 foot periscope. Still the ocean comes up to meet him.
Soon the top of the turret is under water and the radio mast
is disappearing. Indy shifts his grip to the periscope,
working his way up it and hanging on for dear life as the
ocean whips at his body. The periscope is quickly going under.
Indy hangs on to the top three feet, all that remains above.

The forward movement of the sub continues, but, to Indy's
slowly dawning delight, the dive stops. No more of the
periscope goes under. Indy smiles; it's a pretty good smile,
too, given the circumstances. Indy pulls out his bullwhip
and begins tying himself to the periscope.

EXT. THE PERISCOPE - AFTERNOON

The sun warms that part of his body Indy has contrived to
keep out of the water. The rest floats out behind. Indy isn't
comfortable, but all in all, it's not as terrible as he might
have feared.

DISSOLVE TO:

EXT. THE PERISCOPE - DUSK

It's as terrible as Indy might have feared. He looks wasted.
Waterlogged and exhausted. The wet leather of the whip is
contracting and he must struggle constantly to keep it from
cutting into his skin.

DISSOLVE TO:

EXT. THE OCEAN - NIGHT

Several shark fins cut the surface, appearing and disappearing
in the bright moonlight. They are shadowing -

EXT. THE PERISCOPE - NIGHT

Indy looks through barely open eyes at the sharks running
alongside. There is nothing to be done. His eyes close.

FADE OUT:

FADE IN:

EXT. THE PERISCOPE - NIGHT

The submarine has stopped. The water is calm. The moon is
bright. A gentle swell splashes Indy awake. He blinks, tries
to regain his senses. He makes an inventory of his body.
Surprised to find himself intact, his spirits lift. Some
hidden reserve of energy flows through him. He frees his
aching arms from the wet leather of his whip, leaving only
one loop around his waist to hold him to the sub. He rubs
his hands and stretches. Once again, he has survived. To
fight again. He looks around.

WHAT HE SEES

A lovely island. No sign of man's presence. The sub has
stopped at the mouth of a wide cove completely ringed by
tall white rock cliffs. Suddenly the sub begins to move again.
It is headed directly toward the center of the cliffs. Indy
holds on, mystified, alert. When the cliffs are very close,
the sub begins to dive.

INDY
Damn!

He thinks hard. Inspiration hits just before the water. Indy
flips his leather jacket up over his head and holds the jacket
out in front of him. His head is hidden by the jacket as he
goes under water.

INT. THE UNDERWATER TUNNEL - NIGHT

The sub enters an underwater tunnel that penetrates into the
cliffs. Indy is held to the periscope by his crossed legs
and the whip. His impromptu air bubble is working, but it's
a struggle to maintain it.

The sub begins to cut through think marine vegetation. Each
dangling growth pulls at Indy's body and slaps at his leather
bubble. Now a clump of entwined seaweed rips the leather out
of his hands and his bubble of air rises away. Indy hangs
on, holding his breath, but the vegetation gets denser.
Finally, it pulls him off the periscope. The sub moves on,
disappearing ahead.

Indy rises desperately through the dark water, his hand
outstretched. Then, almost simultaneously, hand and head hit
solid rock. But no air. Indy feels along the ceiling of rock.
Nothing. It's all submerged.

Indy dives, stroking deep into the tunnel. When he has
descended 15 feet, he grabs a vine and steadies himself. His
eyes search the dim roof of the tunnel. He sees his last
hope in the distance - a small blue circle, an air pocket.
He swims for it.

In the air pocket, Indy's head breaks the surface and smashes
into rock again. The pocket is only six inches deep. No
matter. Indy loves it. He'd like to move in. He gulps air.

INT. THE SUB BASE - DOCKING BAY

The Wurrfler has arrived at an extraordinary base built in
the hollow interior of the island. This chamber, with the
docking bay, is almost all water. A huge natural cavern, it
has been reinforced and enlarged by the Germans.

The Wurrfler sits surfaced at the dock. The Ark has been
unloaded and placed on a cart. Shliemann, Belloq and Marion
have just disembarked and been met by a Nazi contingent from
the base. Marion looks worse for the trip. Her white nightgown
is now ripped and smudged.

One of the greeting Nazis, a TALL CAPTAIN, salutes Shliemann
and Belloq. As he speaks to them, we notice that right behind
this group, just above a great deal of sub unloading activity,
Indy's whip hangs from the periscope. Working Nazis pass
within feet of it unaware; the Tall Captain would see it in
a moment if he were not so focused on the new arrivals.

TALL CAPTAIN
(to Belloq)
The tents have been arranged in
accordance with your radioed
instructions, sir.

BELLOQ
Good. We must take the Ark there
now.

Shliemann looks a little unhappy about this exchange, but
says nothing. The group moves swiftly toward the end of a
mine train arrangement. The train, consisting of small,
separate, electric-powered cars, sits on a track which
disappears into a tunnel cut in the rock.

On the turret of the Wurrfler, the Wurrfler's Captain lights
a cigarette as he watches the mine train disappear, then
returns his attention to the activity on the dock. He leans
idly against the periscope, his head two feet below Indy's
dangling whip. Something catches his eye, he yells an order
and climbs down from the turret to deal with the matter. We
hold on the whip for a long moment, until its owner's hand
appears and quickly reclaims it.

INT. TRAIN TUNNEL

The Ark and its entourage are moving slowly up the tight
dark tunnel, their way lit by intermittent lanterns. The
tunnel is irregular, but generally about 7 feet wide. It's
height varies from an average of about 7 feet to a low of
only about 4.5 feet at the points (every 40 feet) where
support beams cross the track. The result is that there is
only about a foot of clearance above the mine cars at those
points; passengers must duck to keep from being hit in the
head. Shliemann, looking worried, and Belloq, very excited,
are focused on the Ark in the car ahead.

SHLIEMANN
I am uncomfortable with the thought
of this -
(spitting it out)
Jewish ritual. Are you sure it's
necessary?

BELLOQ
(playing him)
Let me ask you this - Would you be
more comfortable opening the Ark in
Berlin - for the Fuhrer - and finding
out only then if the sacred pieces
of the Covenant are inside? Knowing,
only then, whether you have
accomplished your mission and obtained
the one, true Ark?

Shliemann doesn't like any of his alternatives. He looks at
Belloq with some suspicion as the train comes into bright
light.

INT. COMMAND CENTER

A second natural cavern, even bigger than the first, has
been worked over by the Germans into a rectangular, three-
story high supply center around a huge, open, center court.
Uniformed Nazi Soldiers are everywhere, wrangling supplies
and ammunition, monitoring electronic equipment. At the far
end of the court, a second train tunnel disappears into the
rock.

Across the open court, Belloq sees his destination: a large,
brilliant white silk tent has been erected in the midst of
all this hardware. It looks incongruous, and more than a
little eerie. It is the Tabernacle.

INT. TRAIN TUNNEL

Indy is making his way up the tunnel. He hears cars coming
from up ahead and steps into the shadows. A mine car passes
with several laughing Nazis. Indy continues on his way.

INT. THE TABERNACLE

The light in here is lovely, unearthly. Oil lamps burn. The
Tabernacle is really several concentric, silk tents, which
creates a flowing maze effect. The innermost tent has at its
center a 3-foot high, tapestry-covered altar. Belloq watches
with gleaming, obsessed eyes as two Nazis carefully lift the
actual Ark out of its crate by means of the long poles. The
Ark dazzles the eye, seeming to glow gold in this strange
light. The two Nazis place it carefully on the altar.
Shliemann and some Aides hang back. Marion is nowhere to be
seen.

INT. COMMAND CENTER - END OF TUNNEL

Indy makes a fast break from the shadows of the tunnel to
the protection of a high stack of supplies. He climbs the
back of the stack, peeks over and surveys the area.

WHAT HE SEES

In addition to the Tabernacle, the second train tunnel
entrance, and all the activity, Indy's glance rests
momentarily on a large, heavy metal door halfway down one
wall toward the Tabernacle. It bears the words, in German:
"DANGER - MUNITIONS"

Indy continues to scan the scene.

INT. THE TABERNACLE

In the central area with the Ark, Shliemann and the other
Nazis wait impatiently, eyeing the Ark with some discomfort.
Belloq is not visible, because at the moment he is -

In the folds of the Tabernacle, the silk of the tents
undulating around him. The light is even stranger, the scene
almost dreamlike. With the help of the Tall Captain, Belloq
lets an extraordinary, gold-embroidered, ceremonial robe
fall over his head and onto his body. Belloq looks
transported, possessed. The Tall Captain unlatches a wooden
case and takes from it a sturdy ivory rod about 5 feet long,
elaborately engraved. Belloq takes it from him, turns and
slips back through the silk. The Tall Captain stays in the
folds.

Back in the central area, Shliemann and the other Nazis are
taken aback by Belloq's appearance in the robe. They exchange
looks. From one knot of men there is muttering about "Juden"
and such, but when Belloq turns a fiery gaze on them there
is immediate silence. Shliemann looks uncertain in this
presence.

Belloq approaches the Ark. He stops a few feet from it and
begins murmuring an invocation in Hebrew. After a few moments
of this he advances a step and is about to place the ivory
rod in a notch under the lid of the Ark itself. The end of
the rod is an inch from the notch when -

Indy steps into the Tabernacle. On his shoulder is a bazooka
and it is aimed directly at the Ark.

INDY
Hold it.
(the Nazi react)
One move from anybody and I blow
that box back to Moses.

Shliemann makes it clear to the other Nazis that Indy is to
be obeyed.

BELLOQ
Jones, your persistence surprises
even me. You are going to give
mercenaries a bad name.

INDY
What about you? Talked to God yet?
(Belloq's eyes flash)
Where's the girl?

SHLIEMANN
Doctor Jones, surely you don't think
you can escape from this base.

INDY
That depends on how reasonable we're
all willing to be. All I want is the
girl. We'll keep possession of the
Ark only till we've got safe transport
to England. Then it's all yours.

SHLIEMANN
If we refuse?

INDY
Then the Ark and some of us are going
up in a big bang. I don't think Hitler
would like that a bit. Now I don't
want to talk about this anymore.
Show me that girl in five seconds or -

The Tall Captain flies out of the silk and takes Indy down
by the neck. The bazooka clatters across the cement floor as
two other Nazis help subdue Indy. The three Nazis take Indy's
pistol from his holster and raise him roughly in their grasp.

SHLIEMANN
Jones, this is the second time I
have seen you looking very foolish.

INDY
It's a bad habit. I'm trying to break
it.

Shliemann draws his Luger.

SHLIEMANN
I'll help you. This time I'll kill
you myself.

Shliemann raises the pistol.

BELLOQ
No! Not in the presence of the Ark!
Take him outside.

Shliemann eyes Belloq, then the Ark. He lowers the pistol,
motions for the Nazis to take Indy out ahead of him. They
stop a moment only when Belloq speaks.

BELLOQ
Indiana Jones, I salute you. I am
even a little sorry you will miss
this moment.

INDY
Thanks. If you talk to Him, tell Him
I'm on my way up.

Shliemann motions them out and follows. Belloq turns back to
the Ark, raising the ivory rod.

INT. COMMAND CENTER

Shliemann, the Tall Captain, Indy and the two Nazis holding
him emerge from the Tabernacle. Shliemann points to a nearby
wall and the group starts that way with Shliemann and the
Tall Captain slightly ahead.

INT. THE TABERNACLE

Belloq has the ivory rod inserted in the notch under the lid
of the Ark. He utters a short phrase in Hebrew and begins to
press down on his end of the rod. The lid of the Ark begins
to lift. It's difficult work. Belloq puts his whole weight
into one big press on his end and the lid opens two feet.

Inside the Ark of the Covenant is a preview of the end of
the world. A light so bright, a power so fearsome, a charge
so jolting, that there is nothing in our world to compare to
it. It's as though this magnificent golden box has been
gathering electric energy for three thousand years, waiting
for just this crack of the lid to release it all in one fast,
cleansing explosion of pure force.

Blinding arcs of light shoot out across the Tabernacle
instantly killing all the Nazis inside and turning the white
silk to flame. But it is Belloq in his obsession who takes
the full blast. His whole body seems lit by a million volt
current and, for a moment, his complete form is white, then
blue, then maybe green, but it is hard to tell because our
eyes are blinded now too. Two aspects of this ghastly,
beautiful display are somehow communicated in the chaos,
although the communication is subliminal. First, that Belloq,
in the instant of his destruction, has experienced some kind
of sublime, transcendental knowledge. If a death's-head can
smile and look satisfied, that is how Belloq's incandescent
face would be described. Secondly, this event is accompanied
by a sound like no other. A sound so intense and so odd and
so haunting that the suggestible among us might imagine it
were the whisper of God.

INT. COMMAND CENTER

Chaos. Shliemann and the Tall Captain have been temporarily
blinded by the light from the Tabernacle. Indy makes short
work of his two escorts. He bashes their heads together.
When only one goes down at this, Indy uses the handle of his
bullwhip, which has appeared instantly in his hand, to put
the second one down.

Shliemann, hand on his eyes, aims his Luger blindly at the
scuffle. Indy pushes the Tall Captain at Shliemann, who fires
on impact, killing the Tall Captain. Indy knocks out
Shliemann.

Behind Indy, the brilliant light and weird noise of the Ark
have suddenly ceased, but the Tabernacle is ablaze and the
fire has quickly spread to stacks of supplies on either side.
Smoke is already starting to fill the cavern. Nazis are
running around, yelling for firefighting water. A burning
crate at the side of the Tabernacle is pushed over, only to
knock over a drum of heavy black oil. A river of flame shoots
across the cement.

Indy grabs a rifle with bayonet from the prostrate body of
one of his former escorts and runs back into the flaming
Tabernacle.

INT. THE TABERNACLE

Indy jumps through the flames into what is now a tent of
fire. He looks around at the dead bodies, then at the Ark.
The lid has slammed down shut again and the Ark shines gold
in the flames. Before it, where Belloq once stood, is a pile
of ash and charred debris. Indy registers this, then continues
to scan the scene.

INDY
Marion! Marion, can you hear me?

Suddenly, Indy looks as -

The far side of the Tabernacle burns completely away,
revealing Marion, tied spread-eagle between two upright posts.
Her nightgown is now in tatters, black with soot. She is
gagged, but her eyes are screaming, focused on the flaming
river of black oil which is about to engulf her feet.

Indy rushes toward her, unaware of a uniformed Nazi who has
appeared from the flames. Marion looks up to see Indy and
the Nazi leveling his submachine gun at Indy. She motions
desperately with her eyes. Indy dives and rolls through the
flames just as the Nazi opens fire. From the floor, Indy
blasts the Nazi.

The river of burning oil is only a foot from Marion.

Indy jumps up and runs toward the bound Marion, his bayonet
aimed directly at her. Her wide eyes flash between the flames
and the shining blade. Expertly, Indy slashes down both sides
at Marion, cutting all four bindings. Marion falls backwards,
away from the flames, but before she hits the ground, Indy
is there, catching her in his arms.

They embrace. They kiss. They break.

INDY
Hi.

MARION
Oh, Indy! Thank god you're here.

INDY
Glad I could make it.

Indy rises, pulling her up with him. The Tabernacle is burning
away so fast that soon Indy and Marion will be completely
exposed. Indy rushes over and grabs the submachine gun and a
Luger from the dead Nazi.

INDY
Let's get out of here.

MARION
What about the Ark?

Indy stops, startled by her spunky attitude. He's considering
their changes.

INDY
Are you game?

MARION
Hell yes! We've made it this far.

INDY
(grins at her)
Okay. Let's do it.

They approach the altar through the dying flames, Indy
slinging the submachine gun over his back. The long carrying
poles are still in place.

INDY
Whatever you do, don't touch it.
Let's put it on the floor.

Marion nods. Each taking an end with the poles, they lift
the Ark from the altar and lower it to the floor. Marion
grunts under the weight. Indy registers this, hands her the
submachine gun. He pulls out his whip, motions her back, and
sweeps the whip tightly around the body of the Ark. The whip
wraps snugly around the plaiting and Indy ties it off. The
Ark is now harnessed to the whip handle. Indy gives it an
experimental pull and the Ark slides across the smooth cement.
Indy indicates the direction of the second train tunnel.

INDY
We'll go down that side. Shoot anyone
who looks at us crosseyed.

INT. COMMAND CENTER

Two huge stacks of goods are ablaze and the Nazis are having
trouble getting water to them. The Nazis main concern at
this point is an enormous, neat stack of wooden cartridge
boxes which are piled down the wall from one of the already
blazing, and now teetering, stacks of general goods. Nervous
Nazis are moving the heavy cartridge boxes as fast as they
can, but it's slow work and the threatening fire is close.

Indy and Marion make their way along the side of the center
court, Indy grimacing with the strain of pulling the Ark.
One Nazi stops directly in front of them, looking at them
queerly. Indy knocks him out with the butt of his Luger just
as Marion is about to fire.

Out in the court, Shliemann has regained his eyesight. Now
he crouches, scanning the scene desperately for Indy. He
looks into the remains of the Tabernacle and spots the empty
altar. Beyond it, the unoccupied posts where Marion was bound.

At the entrance to the second train tunnel, Indy and Marion
struggle to lift the Ark into a mine car. Marion has the
submachine gun slung over her back. The Ark drops heavily
into the bottom of the car. The noise attracts the attention
of five water-carrying Nazis. They see what's going on and
reach for their side-arms. Indy grabs Marion, pulls her in
front of him - as though to use her as a shield - and flips
the submachine gun, still on her back, toward the Nazis.

He opens fire, turning Marion's body so he can mow all five
down.

Shliemann spins around and looks at the tunnel entrance. He
points at Indy and Marion, who have just hopped into the
mine car with the Ark.

SHLIEMANN
Stop them! Kill them!

A dozen Nazis spin and look at the mine car. Marion is just
leveling the submachine gun. Indy pushes forward the throttle
and the mine car moves toward the tunnel, picking up speed.
As the Nazis raise their guns to fire, Marion and Indy both
open up, peppering the area with lead. As the mine car is
about to disappear into the tunnel -

INDY
(to Marion)
Get down!

As the car disappears, bullets pock the entrance of the
tunnel. Shliemann runs up with three Nazis. They jump into
the next mine car and take off, disappearing into the tunnel.

Over at the burning stack of goods, some terrified fire-
fighters scurry away as the burning pile of general goods
falls over onto the stack of cartridge boxes. The wooden
boxes immediately start burning. Many of the Nazis just want
to get out of there, but a couple of disciplined OFFICERS
are trying to salvage the situation. They point to the far
side of the court, the walls are lines with oil and gas drums.

OFFICER
We must cover the drums! Protect
them from the bullets!

INTERCUTTING INDY AND MARION WITH SHLIEMANN AND THE NAZIS

We see a most extraordinary pursuit. This tunnel is of
identical design to the first, except more twisty. This early
section goes slightly uphill, as though headed for the summit
of a rollercoaster. The low cross beams and the higher
sections in between are causing the Nazis to alternately
stand and duck in their efforts to get a clear shot at the
lead car. One German times it wrong and gets whacked. Indy
in unhappy with the speed of his car and he's right, the
Nazis are moving faster and gaining. When both cars are in
the same high section, the Nazis blast away at them. The
noise is deafening, with barking guns, splintering rock, and
twanging ricochets contributing to the din. As Marion fires
a return volley low over the Ark, Indy kicks at the throttle,
convinced it is jammed.

INT. COMMAND CENTER

The Officers are directing the placement of every moveable
item in front of the oil drums. Desks, crates, chairs, food,
all are heaped in front of the fuel. All the workers cast
frequent nervous glances back at the burning cartridge boxes
across the court. Suddenly the worst begins to happen at the
cartridge boxes. Hundreds of thousands of live cartridges
begin exploding, flying around the court like shrapnel. Hot
lead begins to zing off the exposed fuel drums, leaving big
dents.

INT. TRAIN TUNNEL - LONG STRAIGHTAWAY

The car with Indy and Marion looks almost sluggish compared
to the pursuing Nazi car as they both make their way into an
usually long straightaway. Marion discards her empty
submachine gun as Indy kicks at his throttle and casts a
worried look back at Shliemann.

Shliemann, sensing victory, smiles evilly and carefully takes
aim. Indy and Marion will be easy targets until they reach
that approaching low cross beam, which is the crest of the
rising tunnel.

INT. COMMAND CENTER - CLOSE ON FUEL DRUM

A fuel drum, already pocked by bullets is finally penetrated
by high velocity hot lead. It explodes in a ball of flame.
And then its neighbor. Then all is exploding flame.

INT. TRAIN TUNNEL - LONG STRAIGHTAWAY

Shliemann and his cohorts hear the explosions behind them
and look back that way.

Indy kicks the throttle one more time and it goes! Their car
doubles its speed and shoots under the low cross beam at the
same instant as -

A huge dragon of all-consuming fire shoots up the tunnel
behind the Nazis, catches their car and incinerates Shliemann
and his men. The tunnel collapses in this section, burying
the fried Nazis forever.

INT. TRAIN TUNNEL

Indy and Marion look back at the low cross beam as the last
tongue of flame makes it there and then is doused by falling
rock and dirt. They look at each other, then turn their
attention back to their own predicament. Their mine car is
going incredible fast as it moves into a downward section of
wildly twisting tunnel.

MARION
Slow it down!

Indy is already pulling the throttle. It moves easily.
Unfortunately, it is no longer attached to the motor. The
mine car is out of control. After several moments, far ahead,
appears a circle of bright daylight - the end of the tunnel!
It approaches at a frightening rate. Indy reaches out and
grasps Marion's hand. They exchange looks and then turn to
look ahead.

THEIR POV

We're taking this last stretch with them. It's a familiar
nightmare. It has to do with a rollercoaster that ends
suddenly and disastrously. The shocking brightness of sunlight
rushes up to engulf us, blinding us in its glare.

EXT. THE ISLAND - END OF TRACKS, DOCK

High up on the slope of the island, Indy and Marion's mine
car shoots out of the black tunnel and roars down toward a
little dock at the end of the tracks.

A small Nazi transport launch, carefully disguised as a Greek
fishing boat, sits bobbing by the dock. The only human: a
Nazi Sentry dressed as a Greek peasant. He is perched on a
pile of seed bags which are stacked at the very end of the
train tracks. As the mine car barrels noisily down toward
him, he throws away some burlap to reveal a mounted machine
gun which he spins quickly around toward the approaching
mine car. He opens fire.

In the out-of-control mine car, Indy pulls Marion down with
him. They are squashed into the corner trying to avoid contact
with the bouncing Ark. Bullets clang against the outside of
the car and whiz inches overhead. Indy and Marion are forced
into a tighter and tighter embrace of life.

At the machine gun post, the Nazi Sentry has been firing
like crazy, but now there is terror in his eyes. He realizes
the car is not going to stop. He lacks faith in his
stronghold. Too late.

The mine car smashes into the seed bag bunker. And right on
through. The Nazi Sentry, his machine gun and a dozen bursting
seed bags are slammed into the ocean in a wild, hurtling
mass. The mine car jumps, bounces and spins around, then
slides to a stop in a cloud of seed at the edge of the water.

INT. COMMAND CENTER

Fire. Everywhere. No sign of life. A large gaping doorway,
flames ringing it, blazing into the room beyond. Hanging by
one hinge there, its metal blasted and jagged, is a heavy
door with the signed lettering, in German, "DANGER -
MUNITIONS".

The first explosion happens. It's a baby compared to what's
coming yet it rocks the earth. It's terrible. And then, almost
immediately, another. The long, irregular, ever larger chain
of explosions begins.

EXT. THE ISLAND - VARIOUS SHOTS - DAY

The island rumbles and shakes. From fissures and small natural
caves, dirt and rock shoot out like spraying water. Still
the explosion continue. A huge chunk of white cliff falls
away into the turbulent sea. Birds scream and soar, afraid
to land.

Finally, we settle on a full shot of the island. We can
recognize that the small opening high on the slope from which
a cloud of smoke and dust is billowing is the end of the
mine tunnel. And there below it, quite small from this
distance is the dock. And the boat that looks like a Greek
fishing boat. There can be no mistake even from this far
away - the boat is chugging out to sea.

INT. THE PENTAGON - DAY

Indy, Brody, and Marion, looking very stylish, are seated in
Colonel Musgrove's huge office. Sun pours in a window, through
which Washington can be seen sparkling across the Potomac.
Everything is neat and clean and regular. Including the three
men who are arrayed around the office. Two we know - Col.
Musgrove and Maj. Eaton. The third is an unnamed Bureaucrat.
He hangs back, smiling and genial, his features obscured by
the glare of the window. He doesn't say anything, yet you
have a sense that the others defer to him in the matter at
hand. He is the essence of all that is Byzantine and
inscrutable in our scrubbed government machine.

Indy and Brody are dissatisfied with the way the meeting has
gone. Marion, on the other hand, is very happy and eager to
get out of there. Eaton's manner is irritatingly cheery.

MUSGROVE
You've done your country a great
service.

EATON
And we trust you found the settlement
satisfactory?

MARION
Quite.

EATON
Good, good.
(glances around at
the others)
Then I guess that about does it.

BRODY
When can we have the Ark?

Eaton's glance flicks over to the mysterious Bureaucrat,
then back to Brody.

EATON
I thought we answered that. It's
someplace very safe -

INDY
(heated)
That's a powerful force. Research
should be done -

EATON
Oh, it will be, Dr. Jones, I assure
you. We have top men working on it
right now.

INDY
Who?

EATON
Top men.

Indy exchanges a look with Brody.

INDY
We may be able to help.

EATON
We appreciate that. And we won't
hesitate to call on you.

MUSGROVE
(dismissing them)
Thank you all. Thank you again.

Indy looks them over coldly. He gets up, sullen.

EXT. PENTAGON STEPS - DAY

Indy, Brody and Marion emerge from the building. Brody bids
them farewell and moves off in another direction. Marion
clings to Indy's arm in an energetic, very feminine way,
scolding him.

MARION
Well they aren't going to tell you,
so why don't you just forget it. I'd
think you'd had enough of that damn
Ark. Just put your mind on something
else.

Indy stops, looking across the river, his mind occupied.

INDY
Yeah, like what?

Marion makes a face, then puts her arms around his neck and
plants a humdinger of a kiss on his mouth. It goes on a while.
Finally they break.

INDY
It's not the Ark... but it'll have
to do.

They move down the steps, smiling.

INT. GOVERNMENT WAREHOUSE

The Ark of the Covenant sits in a wooden crate. A wooden lid
comes down and hides it from view. The lid is solidly nailed
to the crate as we read the stenciled message on top -

TOP SECRET
ARMY INTEL. #9906753
DO NOT OPEN!

The hammering is completed and hands shift the heavy crate
onto a dolly.

THE END CREDITS ROLL AS WE SEE -

A Little Old Government Warehouseman begins pushing the crated
Ark down as aisle. Soon we see that the aisle is formed by
huge stacks or crates. They come in many shapes and sizes,
but when it comes right down to it, they all look like the
one that holds the Ark. All have markings like the message
we've just seen. Pretty soon we're far enough and high enough
away from the Little Old Government Warehouseman to see that
this is one of the biggest rooms in the world. And it is
full. Crates and crates. All looking alike. All gathering
dust.

And then we notice that the Little Old Government
Warehouseman, pushing his new crate ahead of him, has turned
into another aisle and disappeared from view.

FADE OUT:

THE END