tag:blogger.com,1999:blog-66184281492650885932023-11-15T05:54:37.410-08:00RAIDERS OF THE LOST ARKEelveEhttp://www.blogger.com/profile/04343357520043384445noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-6618428149265088593.post-1465669351950286242007-03-29T14:31:00.001-07:002007-03-29T14:31:51.871-07:00"RAIDERS OF THE LOST ARK""RAIDERS OF THE LOST ARK"<br /><br /> Screenplay by<br /><br /> Lawrence Kasdan<br /><br /> Story by<br /><br /> George Lucas<br /><br /> <br /><br /> FADE IN:<br /><br /> EXT. PERU - HIGH JUNGLE - DAY<br /><br /> The dense, lush rain forests of the eastern slopes of the <br /> Andes, the place known as "The Eyebrow of the Jungle". Ragged, <br /> jutting canyon walls are half-hidden by the thick mists.<br /><br /> The MAIN TITLE is followed by this:<br /><br /> PERU<br /> 1936<br /><br /> A narrow trail across the green face of the canyon. A group <br /> of men make their way along it. At the head of the party is <br /> an American, INDIANA JONES. He wears a short leather jacket, <br /> a flapped holster, and a brimmed felt hat with a weird feather <br /> stuck in the band. Behind him come two Spanish Peruvians, <br /> SATIPO and BARRANCA. Bringing up the rear are five Yagua <br /> INDIANS. They act as porters and are wrangling the two heavily-<br /> packed llamas. The Indians become increasingly nervous. They <br /> speak to each other in bursts of Quechua. The American, who <br /> is known to his friends as Indy, glances back at them.<br /><br /> BARRANCA<br /> (irritated)<br /> They're talking about the Curse again!<br /><br /> He turns and yells at the Indians in Quechua, his anger giving <br /> an indication of his own fears. The party reaches a break in <br /> the canyon wall and takes the trail through it.<br /><br /> When they emerge, their destination is revealed to them in <br /> the distance. Beyond a thick stand of trees is the vegetation-<br /> enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS.<br /><br /> The entire party is struck by the sight. The Indians, <br /> terrified now, chatter away. Suddenly the three at the back <br /> turn and run, dropping their packs as they go. Barranca yells <br /> at the fleeing Indians and pulls his pistol out. He starts <br /> to raise his arm to aim but Indy restrains it in a muscular <br /> grip.<br /><br /> INDY<br /> No.<br /><br /> Barranca looks evilly at Indy's hand upon him. Indy releases <br /> him and smiles in a friendly way.<br /><br /> INDY<br /> We don't need them.<br /><br /> Satipo watches this confrontation with some concern.<br /><br /> BARRANCA<br /> I do not carry supplies.<br /><br /> INDY<br /> We'll leave them. Once we've got it, <br /> we'll be able to reach the plane by <br /> dusk.<br /><br /> He turns back to the trail. Satipo gets the two remaining <br /> Indians moving behind Indy. Satipo and Barranca then have a <br /> fast, silent communication: Barranca indicates his desire to <br /> slit Indy's throat; Satipo gives him a look that says "Be <br /> patient, you idiot".<br /><br /> THE APPROACH TO THE TEMPLE<br /><br /> The party fans out to fight their way through the entwined <br /> trees that guard the temple. Visibility is cut to five feet <br /> in the heavy mist. Satipo extracts a short, native dart from <br /> a tree and examines the point gingerly<br /><br /> SATIPO<br /> (showing Indy)<br /> The Hovitos are near. The poison is <br /> still fresh... three days. They're <br /> following us, I tell you.<br /><br /> INDY<br /> If they knew we were here, they would <br /> have killed us already.<br /><br /> The two Indiana jabber in Quechua, near hysteria. Barranca <br /> is sweating profusely, eyes darting. He yells at the Indians <br /> in Quechua to "shut up".<br /><br /> In the undergrowth, there is slithering movement.<br /><br /> Indian #1 draws aside a branch and is faced with a horrific <br /> stone sculpture of a Chachapoyan demon. The Indian is so <br /> frightened no sound comes out when he screams. He turns and <br /> runs silently away.<br /><br /> Indian #2 calls to his friend. Getting no response, he steps <br /> in that direction. A huge macaw, flushed from the undergrowth, <br /> screams and flies away. Indian #2 does exactly the same thing, <br /> never to be seen again.<br /><br /> Indy, Satipo and Barranca, just clearing the trees, look <br /> back in that direction. They all turn to face the Temple.<br /><br /> It is dark and awesome. Vegetation curls from every crevice, <br /> over each elaborate frieze. The entrance - round, open and <br /> black - has been designed to look like open jaws.<br /><br /> INDY<br /> So this is where Forrestal cashed <br /> in.<br /><br /> SATIPO<br /> A friend of yours?<br /><br /> INDY<br /> Competitor. He was good, very good.<br /><br /> BARRANCA<br /> (nervous)<br /> No one has ever come out of there <br /> alive. Why should we put our faith <br /> in you?<br /><br /> Indy takes the weird feather from the band of his hat. From <br /> around its point, he slips a tightly rolled piece of <br /> parchment. Barranca and Satipo exchange a quick "So that's <br /> where is was!" look. They all kneel as Indy spreads out the <br /> parchment. On it is one-half of a crude floorplan of the <br /> Temple.<br /><br /> INDY<br /> No one ever had what we have... <br /> partners.<br /><br /> Indy fixes them with an expectant stare. Satipo produces a <br /> similar, but folded, piece of parchment. He lays it - the <br /> other half of the floorplan - next to Indy's. They all regard <br /> it for a moment, then Indy stands and walks toward the Temple. <br /> Barranca's eyes are shining as they dart between the floorplan <br /> and Satipo.<br /><br /> INDY<br /> (back turned)<br /> Assuming that pillar there marks the <br /> corner and...<br /><br /> Barranca is suddenly on his feet, quietly drawing his pistol. <br /> He raises it toward Indy as Satipo realizes with alarm what <br /> he's doing. Too late. Indy's head turns and he sees Barranca.<br /><br /> Indy's next move is amazing, graceful and fast, yet totally <br /> unhurried. His right hand slides up under the back of his <br /> leather jacket and emerges grasping the handle of a neatly <br /> curled bullwhip. With the same fluid move that brings Indy's <br /> body around to face the Peruvian, the whip uncoils to its <br /> full ten foot length and flashes out.<br /><br /> The fall of the whip (the unplaited strip at the end of the <br /> lash) wraps itself around Barranca's hand and pistol. He <br /> could not drop the gun now if he tried.<br /><br /> Indy gives the whip a short pull and Barranca's arm in jerked <br /> down, where it involuntarily discharges the gun into the <br /> dirt. Barranca is amazed, but feels some slack in the whip <br /> and immediately raises the gun toward Indy again, cocking it <br /> with his free hand.<br /><br /> Indy's face goes hard. And sad.<br /><br /> Indy sweeps his arm in a wide arc. Barranca spins around, <br /> enclosed in the whip, his gun hand stuck tight against his <br /> body. Indy gives one more short jerk on the whip handle and <br /> Barranca's gun fires. Barranca falls dead.<br /><br /> Indy looks quickly at Satipo, who is shocked and frightened. <br /> He raises his arms in supplication.<br /><br /> SATIPO<br /> I knew nothing! He was crazy! Please!<br /><br /> Indy looks him over, then nods. He frees the whip from <br /> Barranca's body and picks up the man. His eyes sweep the <br /> surrounding woods.<br /><br /> INDY<br /> Let's go.<br /><br /> INT. TEMPLE - INCLINED PASSAGE - DAY<br /><br /> Indy and Satipo, carrying a torch, walk up the slightly <br /> inclined, tubular passage from the main entrance. The interior <br /> is wet and dark, hanging with plant life and stalactites. <br /> Their echoing footsteps intermittently overpower the sounds <br /> of loud dripping, whistling air drafts and scampering claws.<br /><br /> HALL OF SHADOWS<br /><br /> Indy leads the way down a twisting hallway, Satipo's torch <br /> barely lighting his way from behind. Indy disappears in a <br /> shadow and when he reappears a moment later a huge black <br /> tarantula is crawling up the back of his jacket. Indy doesn't <br /> notice and disappears into another shadow, emerging with two <br /> more tarantulas on his back.<br /><br /> Satipo sees them and makes a frightened grunting sound. Indy <br /> looks at him, sees what he's pointing at and casually brushes <br /> all three spiders off with his rolled whip, as he would a <br /> fly. Satipo pirouettes for an inspection and Indy flicks one <br /> off the Peruvian's back.<br /><br /> Indy begins picking up little pocket-sized artifacts from <br /> the niches and ledges of the Temple. He continues to do this <br /> as the men penetrate the Temple. His collecting is quick and <br /> expert, evaluating the pieces in an instant, discarding some, <br /> stuffing others into his clothes, and never stopping his <br /> forward progress.<br /><br /> CHAMBER OF LIGHT<br /><br /> The men reach an arch in the hall. The small chamber ahead, <br /> which interrupts the hall, is brightly lit by a shaft of <br /> sunlight from high above. Indy stops, looks it over.<br /><br /> SATIPO<br /> What's wrong? Are you lost?<br /><br /> Indy picks up a stick and throws it through the shaft of <br /> light. Giant spikes spring together from the sides of the <br /> chamber with a ferocious CLANG! And impaled on the spikes <br /> are the remains of a white man, half-fleshed, half skeleton, <br /> in explorer-type grab. Indy reaches out and takes hold of <br /> the man's carcass. As the spikes slowly retract, Indy pulls <br /> it free and seats the remains gently on the floor.<br /><br /> INDY<br /> Forrestal.<br /><br /> SATIPO<br /> (gulps)<br /> We can go no further.<br /><br /> INDY<br /> Now, Satipo, we don't want to be <br /> discouraged by every little thing.<br /><br /> Indy steps sideways into the chamber. His back pressed against <br /> the very points of the retracted spikes, he moves along the <br /> edge of the light beam, and steps clear on the other side. <br /> Satipo grimaces and begins sweating his way through.<br /><br /> STAIRWAY<br /><br /> Indy and Satipo come down stone stairs to a tight landing. <br /> Framing the entry are a carefully strung network of dead <br /> vines, each somehow hooked into the wall, narrowing the <br /> opening even more.<br /><br /> INDY<br /> (taking torch)<br /> Let me see that.<br /><br /> He lowers the torch to the floor of the landing. The landing <br /> is carpeted with human skeletons, one on top of another, all <br /> squashed flat as cardboard. Satipo gasps. Indy looks up at <br /> the ceiling of the landing, then steps onto skeletons, which <br /> make a cracking noise under his feet.<br /><br /> INDY<br /> Try not to touch the vines.<br /><br /> FOYER OF THE SANCTUARY<br /><br /> The men are in a high, straight hallway 50 feet long.<br /><br /> The door at the end is flooded with sunlight.<br /><br /> SATIPO<br /> Señor, I think we are very close.<br /><br /> Indy stands still looking at the hall.<br /><br /> SATIPO<br /> (impatient)<br /> Let us hurry. There is nothing to <br /> fear here.<br /><br /> INDY<br /> That's what scares me.<br /><br /> They begin walking down the hall side by side. Satipo has <br /> inched a little ahead. Suddenly his lead foot comes down and <br /> through the floor! As Satipo begins to pitch forward, Indy <br /> grabs him by the belt and pulls him back. They both look <br /> down at the "floor".<br /><br /> Indy swings his whip across the floor. Fifteen feet of it <br /> cuts open beneath the lash, falling away to reveal black pit <br /> as wide as the hall. The illusory floor was made of dust-<br /> covered cobwebs. Satipo picks up a stone and drops it down <br /> the pit. No sound. The two men exchange glances. Indy looks <br /> up at the high roof of the hall. He swings the whip up around <br /> a support beam, tests its strength with a pull and swings <br /> over the pit on the whip. From the other side he swings the <br /> whip back to Satipo, who throws Indy the torch. Satipo swings <br /> across. When they are both standing on solid floor there is <br /> a moment of quiet in which they hear, from far, far below - <br /> SPLASH! Indy wedges the whip handle into the wall and leaves <br /> it strung to the beam for quick retreat.<br /><br /> THE SANCTUARY<br /><br /> A large, domed room. Ten evenly-spaced skylights send their <br /> shafts of sunlight down to a unique tiled floor: white and <br /> black tiles laid out in a lovely, intricate pattern. Indy <br /> and Satipo stand at the door and look across the wide room <br /> at the altar. There, in the supreme hallowed spot, is a tiny <br /> jeweled figurine, Indy's real objective.<br /><br /> Two torches, many years old, are in holders by the door. <br /> Indy takes one down and lights it. He gives the regular torch <br /> to Satipo.<br /><br /> SATIPO<br /> There's plenty of light, amigo.<br /><br /> Indy kneels and uses the unlit end of the torch to reach out <br /> and tap a white tile. It is solid. He taps a black tile. <br /> There is a whizzing sound and a tiny dark sticks in the torch. <br /> Satipo points to the wall nearby: there is a recessed hole <br /> there.<br /><br /> SATIPO<br /> From that hole!<br /><br /> Indy nods, stands and looks around the sanctuary. The entire <br /> room is honey-comed with the same kind of hole. Satipo sees <br /> it too and is properly impressed.<br /><br /> INDY<br /> You wait here.<br /><br /> SATIPO<br /> If you insist, señor.<br /><br /> Torch in hand, Indy begins his careful walk across the <br /> sanctuary. Stepping only on the white tiles, he almost appears <br /> to be doing a martial arts kata. Before each big move he <br /> waves the torch in front of him head to toe, looking at the <br /> flame. Halfway out, he sees something on the floor and kneels <br /> to look at it.<br /><br /> A dead bird lies on one of the white tiles. Its body is <br /> riddled with little deadly darts. This has great significance <br /> to Indy and he stands with even greater caution. He waves <br /> the torch ahead of him and at waist height an air current <br /> whips at the flame. Indy ducks under it and leaves a burn <br /> mark on the white tile beneath it.<br /><br /> Satipo watches, wide-eyed and mystified.<br /><br /> Indy reaches the altar. The tiny idol looks both fierce and <br /> beautiful. It rests on a pedestal of polished stone. Indy <br /> looks the whole set-up over very carefully. From his jacket <br /> he takes a small, canvas drawstring bad. He begins filling <br /> it with dirt from around the case of the altar. When he has <br /> created a weight that he thinks approximates the weight of <br /> the idol, he bounces it a couple times in his palm <br /> concentrating. It's clear he wants to replace the idol with <br /> the bag as smoothly as possible. His hand seems ready to do <br /> that once, when he stops, takes a breath and loosens his <br /> shoulder muscles. Now he sets himself again. And makes the <br /> switch! The idol is now in his hand, the bag on the pedestal. <br /> For a long moment it sits there, then the polished stone <br /> beneath the bag drops five inches. This sets off an AURAL <br /> CHAIN REACTION of steadily increasing volume as some huge <br /> mysterious mechanism rumbles into action deep in the temple.<br /><br /> Indy spins and starts his kata back across the sanctuary at <br /> four times the speed.<br /><br /> Satipo's eyes widen in terror. He turns and runs.<br /><br /> THE RETREAT - INTERCUTTING INDY AND SATIPO<br /><br /> The sanctuary has begun to rumble and shake in response to <br /> the mysterious mechanism. Just as Indy goes out the door, a <br /> rock shakes loose from the wall and rolls onto the tiles <br /> floor. Immediately, a noisy torrent of poison darts fills <br /> the room.<br /><br /> IN THE FOYER<br /><br /> Satipo swings across the pit. He makes it just as the whip <br /> comes undone from the beam, leaving Indy without an escape. <br /> Satipo, extremely nervous, regards the whip a moment then <br /> turns back to face Indy, who has run up to the far side of <br /> the pit.<br /><br /> SATIPO<br /> No time to argue. Throw me the idol, <br /> I throw you the whip.<br /><br /> Indy hesitates, eyeing the rumbling walls.<br /><br /> SATIPO<br /> You have no choice! Hurry!<br /><br /> Indy concurs with that assessment. He tosses the idol across <br /> the pit to Satipo. Satipo stuffs it in the front pocket of <br /> his jacket, gives Indy a look, then drops the whip on the <br /> floor and runs.<br /><br /> SATIPO<br /> Adios, amigo!<br /><br /> Indy grimaces. He had a feeling this might happen. He looks <br /> around.<br /><br /> AT THE VINED LANDING<br /><br /> Satipo flies through like a chubby ballet dancer and takes <br /> the steps five at a time.<br /><br /> IN THE FOYER<br /><br /> Indy runs in full stride to the edge of the pit and broad <br /> jumps into space. He doesn't make it. His body hits the far <br /> side of the pit and he begins to slide out of view. Only <br /> wild clawing with his fingers at the edge of the pit stops <br /> his descent. With just the tips of his fingers over the edge, <br /> he begins pulling himself up.<br /><br /> AT THE CHAMBER OF LIGHT<br /><br /> Satipo has slowed down. He begins to edge carefully around <br /> the light shaft.<br /><br /> AT THE VINED LANDING<br /><br /> Indy sails through sideways and rolls to a stop at the bottom <br /> of the steps. His whip is grasped in his hand. As he raises <br /> himself, he hears, from above the giant spikes of the Chamber <br /> of Light CLANG! and an abrupt, sickening rendition of SATIPO'S <br /> LAST SCREAM. Indy runs up the steps. The rumbling sound grows <br /> louder.<br /><br /> AT THE CHAMBER OF LIGHT<br /><br /> Indy slides to a stop. The spikes have retracted, taking <br /> Satipo's body to one side. Indy edges into the chamber with <br /> his back to the shaft of light. Soon he is face to face with <br /> the dead Satipo; spikes protrude from several vital spots in <br /> the Peruvian's body. Indy removes the idol from Satipo's <br /> pocket and moves quickly out the other side.<br /><br /> INDY<br /> Adios.<br /><br /> THE INCLINED PASSAGE<br /><br /> Indy shoots out of a cut-off hallway and turns toward the <br /> exit. The rumbling is very loud and now we see why: right <br /> behind Indy a huge boulder comes roaring around a corner of <br /> the passage, perfectly form-fitted to the passageway. It <br /> obliterates everything before it, sending the stalactites <br /> shooting ahead like missiles. Indy dashes for the light of <br /> the exit. His hat flies off his head. Almost immediately it <br /> is crushed by the boulder. Indy dives out the end of the <br /> passage as the boulder slams to a perfect fit at the entrance, <br /> sealing the Temple.<br /><br /> EXT. FRONT OF THE TEMPLE - DAY<br /><br /> Indy lies on the ground, gasping for air. A shadow falls <br /> across him and he looks up.<br /><br /> WHAT HE SEES<br /><br /> Looming above him are three figures. Two are HOVITOS WARRIORS <br /> in full battle paint and loin cloths. They carry long blow <br /> guns. But the man in the center draws Indy's attention. He <br /> is a tall, impressive white man, dressed in full safari outfit <br /> including pith helmet. His name is EMILE BELLOQ. His face is <br /> thin, powerful; his eyes hypnotic; his smile charming, yet <br /> lethal. His heavily French-accented speech is deep, <br /> mellifluous, wonderful. Back beyond Belloq and his two <br /> escorts, thirty more Hovitos Warriors hover at the edge of <br /> the trees.<br /><br /> BELLOQ<br /> Dr. Jones, you choose the wrong <br /> friends. This time it will cost you.<br /><br /> Belloq extends his hand. Indy looks at it, then produces the <br /> idol and hands it to Belloq. Belloq extends his other hand, <br /> smiling. Indy hands over his gun. Belloq sticks it in his <br /> jacket.<br /><br /> BELLOQ<br /> And you thought I'd given up.<br /><br /> INDY<br /> (eyeing the Hovitos)<br /> Too bad they don't know you like I <br /> do, Belloq.<br /><br /> BELLOQ<br /> (smiles)<br /> Yes, too bad. You could warn them... <br /> if only you spoke Hovitos.<br /><br /> With that, Belloq turns dramatically and holds the idol high <br /> for all the Hovitos to see and says something in Hovitos. <br /> There is a murmur of recognition and all the Indians, <br /> including Belloq's escorts, prostrate themselves upon the <br /> ground, heads down.<br /><br /> Indy is immediately up and running toward the edge of the <br /> clearing.<br /><br /> BELLOQ<br /> (in Hovitos)<br /> Kill him!<br /><br /> AT THE EDGE OF THE CLEARING<br /><br /> Indy disappears into the foliage. An instant later, the leaves <br /> are peppered with a rain of poison darts and spears.<br /><br /> EXT. THE JUNGLE - INDY'S RUN - VARIOUS SHOTS - DAY<br /><br /> Indy runs like hell through steadily falling terrain. And <br /> always close behind, a swift gang of angry Hovitos. <br /> Occasionally they get close enough to send a dart or spear <br /> whizzing past Indy's head.<br /><br /> EXT. THE URUBAMBA RIVER - DUSK<br /><br /> An amphibian plane sits in the water beneath a green cliff. <br /> Sitting on the wing is JOCK, the British pilot. Indy breaks <br /> out of some distant brush and runs along the path at the top <br /> of the cliff.<br /><br /> INDY<br /> (yelling)<br /> Get it going! Get it going!<br /><br /> Jock hops in and fires up the plane's engines. Indy reaches <br /> a spot on the cliff above the place, glances back, them jumps <br /> into the river. He comes up, swims to the plane and grabs a <br /> strut.<br /><br /> INDY<br /> GO!<br /><br /> Jock starts the plane moving across the water as Indy walks <br /> across the wing and falls into the passenger compartment.<br /><br /> INT. JOCK'S PLANE - DUSK<br /><br /> Indy relaxes and lies across the seat, a big smile on his <br /> face. One hand drops to the floor of the cabin and Indy jumps, <br /> hitting his head. On the floor of the cabin is a huge boa <br /> constrictor. Indy tries to get his whole body onto the seat. <br /> Jock sees what's happening.<br /><br /> JOCK<br /> Don't mind him. That's Reggie. <br /> Wouldn't hurt a soul.<br /><br /> INDY<br /> I can't stand snakes.<br /><br /> JOCK<br /> The world's full of them, you know.<br /><br /> INDY<br /> I hate them.<br /><br /> JOCK<br /> Come on now, Sport, show a little of <br /> the old backbone.<br /><br /> EXT. JOCK'S PLANE - TWILIGHT<br /><br /> It soars off over the dark jungle.<br /><br /> INT. INDY'S OFFICE, SMALL EASTERN COLLEGE - DAY<br /><br /> It's autumn and the pretty, New England campus out Indy's <br /> window reflects it in dazzling color. A few weeks before the <br /> start of classes. Activity just picking up. Some students <br /> about.<br /><br /> Indy is at a bookcase near the window and he looks quite <br /> different in this setting. His outfit is tweedy, slightly <br /> rumpled in the professional style. Part of his attention is <br /> focused in a book and he wears glasses to see the fine print. <br /> The office is cramped, absolutely inundated with books, maps, <br /> etchings and archeological artifacts. In fact, the only neat <br /> spot in the room right now is Indy's desk, which has been <br /> cleared off expressly for the benefit of -<br /><br /> MARCUS BRODY<br /><br /> The Curator of the National Museum in Washington, D.C. Brody <br /> is examining the small artifacts Indy pocketed on his way <br /> into the Peruvian Temple. He occasionally uses a jeweler's <br /> eyepiece to get a closer look. But he is distracted, his <br /> concerns elsewhere, and it is this that his old friend Indy <br /> senses from across the room.<br /><br /> BRODY<br /> Do you think the idol will ever show <br /> up?<br /><br /> INDY<br /> I don't know. Just because Belloq <br /> had it doesn't mean he kept it.<br /><br /> Indy snaps the book closed and puts it on the shelf. He takes <br /> his glasses off and focuses on Brody. At the windowed door <br /> to his office, two pretty Coeds pause for a moment, look in <br /> at their sexy Archeology professor, giggle and disappear.<br /><br /> INDY<br /> Getting it away from those Indians <br /> would be a neat trick<br /> (a hard look)<br /> I hope they got him.<br /><br /> A young male graduate student, Indy's TEACHING ASSISTANT, <br /> taps on the door and then pushes his way in with an armload <br /> of reference books. Indy helps him find a spot for them.<br /><br /> TEACHING ASSISTANT<br /> I couldn't get the McNabe, Professor. <br /> Someone's got it checked out 'til <br /> next month when classes start.<br /><br /> INDY<br /> That's all right, Phil. Thanks a <br /> lot.<br /><br /> TEACHING ASSISTANT<br /> (eager to please)<br /> Will there be anything else?<br /><br /> INDY<br /> No. I'll see you Thursday.<br /><br /> The Teaching Assistant leaves. Brody is scowling as he <br /> examines the last of the artifacts.<br /><br /> INDY<br /> Hey, if you don't like them, I can <br /> always return them.<br /><br /> BRODY<br /> No, they're beautiful. The Museum <br /> will buy them as usual. No questions <br /> asked.<br /><br /> INDY<br /> Then what's wrong?<br /><br /> BRODY<br /> I brought along some people today.<br /><br /> INDY<br /> What kind of people?<br /><br /> BRODY<br /> Government.<br /><br /> INDY<br /> (concerned)<br /> Government?<br /><br /> BRODY<br /> Don't worry, it's not about your <br /> business.<br /> (indicates the <br /> artifacts)<br /> They're from the Army.<br /><br /> INDY<br /> I've already served.<br /><br /> BRODY<br /> Army Intelligence. They're looking <br /> for Abner.<br /><br /> INT. INDY'S LECTURE HALL / CLASSROOM - DAY<br /><br /> Indy's course - a combination of archeology and anthropology - <br /> is taught in this amphitheater-type lecture hall. His desk <br /> and lectern hold large reference books; blackboards line the <br /> wall. Bones, maps, charts festoon the walls.<br /><br /> Indy leans against his desk talking with Brody and two <br /> uniformed Army officers, COLONEL MUSGROVE and MAJOR EATON, <br /> who are situated around the first seats in the classroom.<br /><br /> MUSGROVE<br /> But you did study under Professor <br /> Ravenwood at the University of <br /> Chicago?<br /><br /> INDY<br /> (nods)<br /> We haven't spoken in ten years. I'm <br /> afraid we had a bit of a falling <br /> out.<br /><br /> EATON<br /> You know nothing of his whereabouts?<br /><br /> INDY<br /> (negative)<br /> Just rumors. Somewhere in Asia, last <br /> I heard.<br /><br /> Musgrove and Eaton exchange a look; they're disappointed.<br /><br /> EATON<br /> (to Musgrove)<br /> Maybe Dr. Jones can make sense of <br /> it.<br /><br /> Again the military men have a silent communication, deciding <br /> what to reveal.<br /><br /> MUSGROVE<br /> Well... you must understand, Dr. <br /> Jones, this is all strictly <br /> confidential.<br /><br /> INDY<br /> I understand.<br /><br /> MUSGROVE<br /> Yesterday, one of our European <br /> sections intercepted a Nazi communiqué <br /> from Cairo to Berlin. We don't quite <br /> know what to make of it.<br /><br /> Musgrove takes a sheet from his briefcase.<br /><br /> MUSGROVE<br /> Here it is - "Tanis development <br /> proceeding. Acquire headpiece, Staff <br /> of Ra, General Tengtu Hok, Shanghai. <br /> Locate Abner Ravenwood, U.S."<br /><br /> Brody is excited. He looks at Indy.<br /><br /> BRODY<br /> Tanis. They must have discovered the <br /> lost ruins.<br /><br /> Indy contemplates this big news; he's impressed.<br /><br /> INDY<br /> (to himself)<br /> Tanis. Ain't that somethin'!<br /><br /> EATON<br /> Frankly, we're a little suspicious... <br /> An American being mentioned so <br /> prominently in a secret Nazi cable.<br /><br /> INDY<br /> Ah, Ravenwood's no Nazi.<br /><br /> EATON<br /> Then what do they want him for?<br /><br /> INDY<br /> They're looking for the headpiece to <br /> the Staff of Ra.<br /><br /> MUSGROVE<br /> (indicates his sheet)<br /> But it says here that's in China.<br /><br /> INDY<br /> Only half of it. Ravenwood had the <br /> other half.<br /><br /> EATON<br /> What would the Nazis want with this - <br /> this Staff of Ra?<br /><br /> BRODY<br /> I can tell you that. Over the last <br /> two years the Nazis have had teams <br /> of archeologists running around the <br /> world looking for all kinds of <br /> religious artifacts.<br /><br /> MUSGROVE<br /> That's right. Hitler's a nut on the <br /> subject. Crazy. He's obsessed with <br /> the occult.<br /><br /> EATON<br /> What is this Staff of Ra, anyway?<br /><br /> INDY<br /> It all has to do with the Ark of the <br /> Covenant.<br /> (the Army guys look <br /> mystified)<br /> The chest the Hebrews used to carry <br /> around the Ten Commandments.<br /><br /> Now it's the Army men who are impressed.<br /><br /> INDY<br /> An Egyptian pharaoh stole the Ark <br /> from Jerusalem and took it back to <br /> the city of Tanis. A short time later, <br /> Tanis was consumed by the desert in <br /> a sandstorm that lasted a year. But <br /> before that, the Pharaoh had had the <br /> Ark hidden away in a secret chamber <br /> called the Well of the Souls. Which <br /> is where the Staff of Ra comes in.<br /><br /> Indy moves to the blackboard and makes a quick sketch to <br /> give a rough idea of the system as he describes it. (and we <br /> get a glimpse of what an interesting and enthusiastic teacher <br /> he must be).<br /><br /> INDY<br /> Now this was rather clever. The Staff <br /> was really just a big stick - oh, I <br /> don't know, say like this -<br /> (he indicates about <br /> six feet)<br /> no one really knows for sure. Any <br /> way, it was capped by an elaborate <br /> headpiece with a carving of the sun <br /> at the top. What you had to do was <br /> take the Staff to a special map room <br /> in Tanis - it had the whole city <br /> laid out in miniature on the floor. <br /> When you placed the Staff in a certain <br /> spot in this room, at a certain time <br /> of day, the sun would shine through <br /> a hole here in the headpiece and <br /> then send a beam of light down here - <br /> to the map - giving you the location <br /> of the Well of the Souls...<br /><br /> MUSGROVE<br /> ...where the Ark of the Covenant was <br /> kept.<br /><br /> INDY<br /> (nods)<br /> Which is probably what the Nazis are <br /> after.<br /><br /> EATON<br /> What's this Ark look like?<br /><br /> INDY<br /> Look like? Why, it's right here...<br /><br /> Indy pulls a big format book from the stack on his lectern <br /> and flips through the pages until he finds a large color <br /> print. The other men gather to look.<br /><br /> THE PRINT<br /><br /> Fills the screen.<br /><br /> It shows a Biblical battle. The Israelite Army is vanquishing <br /> an opposition force. At the forefront of the Israelite ranks, <br /> two men carry the Ark of the Covenant, a beautiful gold chest, <br /> crowned by two sculptured gold angels. The men do not touch <br /> the Ark itself; rather they carry it by use of two long wooden <br /> poles which pass through rings in the corners of the Ark. <br /> The painting is very dramatic, full of smoke, tumult and <br /> sinewy dying men. But the most astounding thing in the picture <br /> is the brilliant jet of white light and flame issuing from <br /> the wings of the angels. It pierces deep into the ranks of <br /> the retreating enemy, wreaking devastation and terror.<br /><br /> EATON<br /> Good God!<br /><br /> INDY<br /> Yes. That's what the Hebrews thought.<br /><br /> MUSGROVE<br /> What's that supposed to be coming <br /> out of there?<br /><br /> INDY<br /> Who knows... lightning... fire... <br /> the power of God.<br /><br /> EATON<br /> I'm beginning to understand Hitler's <br /> interest in this thing.<br /><br /> INDY<br /> Oh yes. The Bible tells of it leveling <br /> mountains and wasting entire regions. <br /> Moses promised that when the Ark was <br /> with you, "your enemies will be <br /> scattered and your foes fell before <br /> you".<br /> (pause)<br /> An army which carries the Ark before <br /> it is invincible.<br /><br /> Eaton and Musgrove exchange worried looks.<br /><br /> INDY<br /> Oh, there's one other thing that <br /> Hitler undoubtably believes about <br /> the Ark...<br /> (a long pregnant pause)<br /> It's said that the Lost Ark will be <br /> recovered at the time of the coming <br /> of the True Messiah.<br /><br /> MUSGROVE<br /> Dr. Jones, you've been very helpful. <br /> I hope we can call on you again if <br /> we have questions.<br /><br /> INDY<br /> Most certainly.<br /><br /> Brody and Indy exchange a look as they all shake and Brody <br /> starts to leave with the Army men.<br /><br /> EXT. FRONT DOOR, INDY'S HOUSE - NIGHT<br /><br /> Indy's English Tudor, upper middle class home. Quite toney; <br /> well beyond the financial reach of an honest college <br /> professor. Marcus Brody has already rung the bell. Indy opens <br /> the door. He is dressed in a tuxedo.<br /><br /> BRODY<br /> I've got to talk to you.<br /><br /> INDY<br /> This isn't really a good time.<br /><br /> BRODY<br /> Indy, it's important.<br /><br /> INDY<br /> All right. Come on in.<br /><br /> INT. FOYER, INDY'S HOUSE<br /><br /> The lush tone continues here in Art Deco and shiny marble. <br /> Indy motions Brody toward the study to one side.<br /><br /> INDY<br /> I'll be in a minute.<br /><br /> As Brody passes the entrance to the expansive living room, <br /> he spots a beautiful, silk-gowned Harlow-type lounging on <br /> the sofa in front of a roaring fire. She is sipping champagne.<br /><br /> INT. STUDY, INDY'S HOUSE<br /><br /> Brody enters the book-lined, dark-wooded study. He paces for <br /> a moment before the fire which is dying in the fireplace, <br /> then spots something and goes over to Indy's big desk. The <br /> surface is covered with open books, monographs, maps and <br /> drawings - all about the Ark of the Covenant. Brody smiles; <br /> he knows his friend very well. Indy comes in, closing the <br /> door behind him. Brody turns to him with a triumphant <br /> expression.<br /><br /> BRODY<br /> They want you to go for it. And <br /> they'll pay.<br /><br /> INDY<br /> (smiles)<br /> Good work, Marcus. I had a feeling <br /> this would happen. And, of course, <br /> the Museum gets the Ark when we're <br /> done.<br /><br /> BRODY<br /> (smiles)<br /> Of course.<br /><br /> Indy's manner is vigorous, aggressive.<br /><br /> INDY<br /> Okay, here's the way it's gonna be. <br /> First, I'll high-tail it to Shanghai <br /> and get the piece from General Hok. <br /> Then I think I know where I can find <br /> Ravenwood. If only I can get -<br /><br /> BRODY<br /> General Hok's a tough customer. They <br /> don't call him the Wild Boar for <br /> nothing. And he's tied in with the <br /> Japanese.<br /><br /> INDY<br /> I'll worry about that when the time <br /> comes. My only hope is to find the <br /> Well of the Souls before the Nazis <br /> do.<br /><br /> WIPE TO:<br /><br /> EXT. IN THE AIR - DAY / NIGHT<br /><br /> A Pan Am Clipper flies west over the Pacific.<br /><br /> WIPE TO:<br /><br /> INT. KEHOE'S CAR (SHANGHAI AIRPORT) - DAY<br /><br /> Indy is barely into the front seat of a dilapidated Ford as <br /> the driver, BUZZ KEHOE, is peeling out into traffic. In the <br /> back seat is a Chinese named BANG CHOW. Kehoe zigs crazily <br /> through traffic with only his left hand as he reaches over <br /> to shake with Indy.<br /><br /> KEHOE<br /> Buzz Kehoe, Army Intelligence. You've <br /> met Bang Chow.<br /><br /> INDY<br /> What's the hurry?<br /><br /> KEHOE<br /> Some German agents got here two hours <br /> ago. Luckily, Bang was able to have <br /> them detained at Customs. We'll have <br /> to hurry.<br /><br /> EXT. HOK'S STREET - DAY<br /><br /> Kehoe's car emerges from an alley. Down the block is Tengtu <br /> Hok's modest, walled palace. Kehoe's car slows a bit and <br /> Bang steps from the moving car with a small black suitcase <br /> in his hand. While he heads down the street toward Hok's <br /> place, Kehoe's car continues across the street and into an <br /> alley on the other side.<br /><br /> EXT. HOK'S STREET - IN FRONT OF PALACE - DAY<br /><br /> A Mercedes limousine appears round a corner and squeals to a <br /> stop at the front gate of the palace, which is manned by a <br /> sturdy Chinese Gateman. There are three Germans inside, one <br /> the driver.<br /><br /> EXT. ALLEY BEHIND HOK'S MUSEUM - DAY<br /><br /> Kehoe, alone now, pushes a trash container casually into <br /> position to hide a newly created hole in the rear wall of <br /> Hok's Museum where several stone blocks have been removed. <br /> He looks around and ambles back to the car.<br /><br /> INT. HOK'S PALACE - ENTRY HALL<br /><br /> The three Germans wait impatiently in a magnificent foyer. A <br /> chime sounds and huge double doors open to reveal TENGTU <br /> HOK, flanked by two uniformed Japanese Soldiers and a robed <br /> Chinese Advisor. He wears a fantastic gold ornamental robe. <br /> Despite the majesty, however, nothing can disguise the fact <br /> that Hok is basically a wild, fat barbarian; an animal. Hok <br /> and his escort group bow in what is the beginning of a long <br /> welcoming ceremony. The Germans exchange impatient glances <br /> but decide they should play it as it comes. They bow.<br /><br /> INT. HOK'S MUSEUM<br /><br /> No person in sight. Instead, we see a magnificent display of <br /> ancient artifacts. Glass cases hold the velvet-couched pieces <br /> at random spots on the shining marble floor. We hear an odd <br /> sound. Near the floor on the rear wall of the museum, a steel <br /> ventilation grate moves. A hand slides it gently across the <br /> marble. Indy sticks his head out and looks around.<br /><br /> INT. HOK'S PALACE - TEA ROOM<br /><br /> The three Germans are being served tea and exotic delicacies. <br /> A pleased Tengtu Hok watches from a throne-cushion. When the <br /> tray of tiny delicacies is presented to him, he takes a <br /> massive handful, crushing them together on their way to his <br /> smiling mouth.<br /><br /> INT. HOK'S MUSEUM<br /><br /> A huge golden gong, seven feet in diameter, is suspended <br /> from the ceiling by a hook. An enormous hammer hangs poised <br /> above it, from which emanate myriad tiny threads which run <br /> up and across the ceiling, then down to the various display <br /> cases. Indy looks up at the gong, then continues his quick, <br /> quiet foray among the cases. Beyond him, a high window.<br /><br /> INT. HOK'S PALACE - TEA ROOM<br /><br /> Hok and his visitors stand to go. The German's pleased <br /> expressions make it clear they're finally on their way to <br /> the museum.<br /><br /> INT. HOK'S MUSEUM<br /><br /> Indy arrives at his destination. The lovely, carved gold <br /> section of the headpiece is nested on purple velvet in a <br /> glass case. At the bottom of the piece is a round hollow <br /> where the staff would fit. There is a grunting sound behind <br /> Indy and he spins, already reaching for his revolver.<br /><br /> A fierce Japanese Samurai is running at Indy full speed down <br /> an aisle of display cases. His sword is raised over his <br /> shoulder ready to cut Indy in half. He's six feet away when <br /> Indy's gun levels and fires twice, blasting him backwards. <br /> Indy is still looking over his gun when another samurai sword <br /> comes down from the side and knocks the pistol brutally out <br /> of Indy's grip; his hand avoids amputation by a quarter of <br /> an inch.<br /><br /> An amazed Indy backs away from the crossing aisle as the <br /> Second Samurai steps in to face him, sword raised. Indy backs <br /> away into an open space and his bullwhip appears in his hand. <br /> He gives it one savage CRACK! to announce its arrival and <br /> the Samurai slows down, eyeing it curiously. The Samurai <br /> does not look unhappy about this confrontation. How pure it <br /> is - The Sword versus The Whip.<br /><br /> EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY<br /><br /> Tengtu Hok and the Germans have obviously heard something. <br /> They are hurrying along the walkway at the side of the <br /> building, Hok in the lead. Up ahead is the foot bridge which <br /> crosses from the palace to the museum entrance over a moat.<br /><br /> EXT. STREET IN FRONT OF THE PALACE - DAY<br /><br /> The Lovely Mercedes limousine blows up.<br /><br /> EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY<br /><br /> The Germans spin toward the blast. Drawing weapons, they run <br /> back to investigate. Hok follows them, confused.<br /><br /> INT. HOK'S MUSEUM<br /><br /> Indy and the Samurai face each other. They're both breathing <br /> hard from previous, no-contact passes at each other. Now <br /> Indy begins swinging the whip over his head again. It whizzes <br /> out toward the Samurai's face. The Samurai takes two lightning-<br /> quick cuts at the leather, but misses. Indy swings for the <br /> Samurai's feet; the Japanese jumps nimbly, slashing at the <br /> whip. Indy does it again. The Samurai hops it. Once more. <br /> The Samurai is concentrating on hopping it.<br /><br /> Indy sees it. The split second he wants. The whip flashes up <br /> from the floor and wraps solidly and irrevocably around the <br /> Samurai's neck. Indy gives it a murderous pull and the Samurai <br /> is dead on his feet.<br /><br /> EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY<br /><br /> Hok and the three Germans are looking down at the flaming <br /> remains of the Mercedes. A look of concern crosses Hok's <br /> face. He turns and runs back toward his beloved museum.<br /><br /> INT. HOK'S MUSEUM<br /><br /> Indy is at the case containing the headpiece. He smashes the <br /> glass with a samurai sword, reaches in and grabs the piece. <br /> Immediately, behind him, the huge hammer falls and the sound <br /> of the gong thunders through the museum.<br /><br /> EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY<br /><br /> At the sound of the gong, the running Hok skids to a halt <br /> with a crazed expression on his face. He disappears for two <br /> seconds in an alcove and emerges holding a big, black Thompson <br /> Submachine Gun. He runs across the foot bridge and is just <br /> barely over it when it blows up. Hok, safe, looks behind him <br /> in amazement and then turns to the museum.<br /><br /> INT. HOK'S MUSEUM<br /><br /> The double doors at the entrance slam open to reveal Hok. <br /> Indy is halfway along an unprotected wall back to his <br /> ventilation entry route. Hok opens up on him, cutting off <br /> his retreat. Indy jumps behind a marble column, which is <br /> promptly blasted with machine gun fire.<br /><br /> Indy looks above him, sees the giant disk of the gong. <br /> Reaching up, pushing with tremendous effort, he maneuvers it <br /> off the hook. It bounces down to the floor on its side, <br /> chipping the marble with its monstrous weight. Indy steadies <br /> it and then puts his whole body into rolling it across the <br /> room toward the window. As it starts to roll, Indy slips <br /> behind it and runs across the room with it.<br /><br /> Hok can see the rolling gong. He opens up on it. The vicious <br /> cacophony of machine gun fire is joined by the musical reports <br /> of bullets hitting the gong and ricocheting away. Very, very <br /> noisy.<br /><br /> Behind the gong, Indy gauges his move. As the gong is about <br /> to be stopped by a marble bench, Indy talks a long stride <br /> onto the bench and dives through the glass of the high window. <br /> Hok's bullets hit the wall.<br /><br /> EXT. ROOF - DAY<br /><br /> Indy lands in a shower of glass on the jutting roof of the <br /> museum's first floor. He rolls to a crouch and is immediately <br /> being fired upon. The Germans, cut off from the museum, are <br /> standing on the palace walkway firing at him. Indy takes off <br /> fast for the rear of the museum.<br /><br /> EXT. ALLEY BEHIND MUSEUM - DAY<br /><br /> Kehoe, craning to locate Indy, has the Ford rolling slowly <br /> along the back of the museum. Bang scouts from the back seat. <br /> Indy appears on the roof at a run, gauges the movement of <br /> the car and jumps from the roof of the museum to the roof of <br /> the sedan. Unfortunately, the roof of the old car can't take <br /> it and Indy's legs knife right on through to the interior, <br /> where he scares the hell out of Kehoe.<br /><br /> INT. KEHOE'S CAR - DAY<br /><br /> Indy squirms his way down into the front seat.<br /><br /> KEHOE<br /> Jesus! Are you all right!<br /><br /> INDY<br /> (he's felt better)<br /> Great. Got it.<br /><br /> Kehoe guns it, throwing Indy back against the cushions.<br /><br /> KEHOE<br /> What now?<br /><br /> INDY<br /> I've got to get to Nepal.<br /><br /> WIPE TO:<br /><br /> EXT. DC-3 IN THE AIR - DUSK<br /><br /> The plane flies west into the sunset.<br /><br /> INT. DC-3 - NIGHT<br /><br /> Under a meager seat light, Indy is pouring over a journal <br /> article by Abner Ravenwood and related map of Nepal.<br /><br /> A few rows back, across the aisle, a trenchcoated European <br /> Spy eyes Indy.<br /><br /> WIPE TO:<br /><br /> INT. "THE RAVEN" SALOON - PATAN, NEPAL - NIGHT<br /><br /> A huge stuffed raven, wings spread wide, is mounted behind <br /> the long bar in the noisy, crowded saloon. A lively mix of <br /> patrons is represented in the late hour tableau: Nepalese <br /> natives, fierce Sherpa mountain guides, sleazy international <br /> smugglers and fugitives, and, of course, mountain climbers <br /> from every corner of the earth. A tall Nepalese, MAHDLO, is <br /> the bartender.<br /><br /> In a corner near the fireplace trouble breaks out suddenly <br /> between the groups at two neighboring tables. Ferocious <br /> representatives from each table - one a wild-looking SHERPA, <br /> the other a muscular Australian CLIMBER - jump up to face <br /> each other. As the two contenders stand poised for action, <br /> their respective supporters shift in their places, fondling <br /> lethal ice axes and clubs.<br /><br /> SHERPA<br /> Gmoiska! Shurga rintoik!<br /><br /> CLIMBER<br /> Aye! That'll be your last word.<br /><br /> The bar has quieted ominously and so we hear with startling <br /> clarity when - a door behind the bar slams open with a huge <br /> BANG! and some Presence, too small to be seen as it moves <br /> through the forest of towering patrons, makes a beeline for <br /> the troubled corner of the bar. A path clears for it.<br /><br /> The Sherpa and the Climber are about to kill each other when <br /> the Presence arrives directly between them: she is MARION <br /> RAVENWOOD, twenty-five years old, beautiful, if a bit hard-<br /> looking. At this moment, however, that look does not hurt. <br /> She is not intimidated by the combatants; she jabs accusatory <br /> fingers into their chests. She is angry as hell. The patrons <br /> shrink under her gaze.<br /><br /> MARION<br /> That does it! I've been patient with <br /> you no-goods long enough. I'm not <br /> open at 2 o'clock for myself, you <br /> know. It's all for you. And how do <br /> you repay me: Trouble and noise and <br /> blood on my floor! I won't have it. <br /> Everybody out! Out! Out! We're closed. <br /> Closed! Do your killing outside! And <br /> don't leave any bodies on the porch!<br /><br /> The place clears quickly. Stragglers and grumblers are given <br /> special attention by Marion and Mahdlo, who has come from <br /> behind the bar carrying a big axe handle. Mahdlo herds the <br /> crows out the front door as Marion turns and walks behind <br /> the bar.<br /><br /> A scowl on her lovely face, she has just begun clearing the <br /> bar of glasses when she notices one remaining Patron huddled <br /> over a glass at the far end of the bar. Grimacing in <br /> exasperation, she heads that way like a locomotive.<br /><br /> MARION<br /> Hey you, deaf one! I said out of my <br /> place. I don't mean next Easter, I <br /> mean now -<br /><br /> She is almost on him when Indy looks up smiling. Marion stops, <br /> stares, shocked.<br /><br /> INDY<br /> Hello, Marion.<br /><br /> She hits him with a solid right to the jaw, knocking him off <br /> the barstool on the floor. He rubs his jaw and smiles up at <br /> her.<br /><br /> INDY<br /> Nice to see you, too.<br /><br /> MARION<br /> Get up and get out.<br /><br /> INDY<br /> (getting up)<br /> Take it easy. I'm looking for your <br /> father.<br /><br /> MARION<br /> (bitterly)<br /> Well you're two years too late.<br /><br /> Indy's attitude changes instantly. This is sad news. He is <br /> silent for a long time. Mahdlo comes in the front door and <br /> hurries forward when he sees Indy with Marion. He looks to <br /> her for guidance, but she stays him with a gesture.<br /><br /> MARION<br /> Go home, Mahdlo. I'll see you <br /> tomorrow.<br /><br /> Mahdlo is hesitant, but lays the axe handle on the bar and <br /> goes out. Indy has been barely aware of him. Now he settles <br /> again on the barstool. Marion has a vindictive look. She'll <br /> let him stay, but she wants to inflict as much pain as <br /> possible.<br /><br /> INDY<br /> What happened?<br /><br /> MARION<br /> Avalanche. Up there. He was digging. <br /> What else? He spent his whole life <br /> digging. Dragging me all over this <br /> rotten earth. For what?<br /><br /> INDY<br /> Do you find him?<br /><br /> MARION<br /> Hell no. He's buried where he was <br /> working. Probably preserved real <br /> good, too. In the snow.<br /><br /> Suddenly the hardness cracks. She is on the verge of tears <br /> and does not want him to see them. She turns away and takes <br /> a whiskey bottle from the shelf, then turns back to pout <br /> herself a drink.<br /><br /> INDY<br /> Not a bad way to go. Doing what he <br /> loved.<br /><br /> MARION<br /> (vitriolic)<br /> Don't give me that stuff! What do <br /> you know?<br /> (she takes a drinks)<br /> I'm the one that was left in a bad <br /> way. He didn't have a penny. Guess <br /> how I lived, Mister Jones. I worked <br /> here. And I wasn't the bartender.<br /> (another swallow)<br /> Finally the guy that owned the joint <br /> went crazy. Snow crazy. They took <br /> his away screaming. As they dragged <br /> him out, he said the place was all <br /> mine for life.<br /><br /> She looks around the saloon.<br /><br /> MARION<br /> Can you imagine a more evil curse?<br /> (pause)<br /> So far, it's working.<br /><br /> INDY<br /> Why not leave? Go back to the States.<br /><br /> MARION<br /> I'll go back. I'll get there. Not <br /> that there's a soul there who knows <br /> my name or cares. But I'll go. And <br /> when I do, they'll know me. 'Cause <br /> I'm going to go back in style. With <br /> money. A goddamn lady!<br /><br /> INDY<br /> Where you gonna get it?<br /><br /> MARION<br /> If I knew that, you think I'd still <br /> be running this dive?<br /><br /> Indy looks at her, thinking. Under his gaze, she blushes, <br /> for reasons only she understands. She looks into her glass <br /> and, for a moment, she softens.<br /><br /> MARION<br /> I'll tell you something Indy. I've <br /> learned to hate you in the last ten <br /> years. But somehow, no matter how <br /> much I hated you, I always knew that <br /> someday you'd come through that door. <br /> I never doubted that. Something made <br /> is inevitable.<br /> (hopefully)<br /> Why are you here... now... tonight?<br /><br /> Indy takes a long time to answer.<br /><br /> INDY<br /> I need one of the pieces your father <br /> collected.<br /><br /> Marion's eyes go icy. She swings at him again with her right, <br /> but this time he catches her at the wrist. Then he stops her <br /> left, which she has brought up to slap him.<br /><br /> MARION<br /> You son-of-a-bitch! You know what <br /> you did to me, to my life? This is <br /> your handiwork.<br /><br /> INDY<br /> I never meant to hurt you.<br /><br /> MARION<br /> I was a child!<br /><br /> INDY<br /> You knew what you were doing.<br /><br /> MARION<br /> I was in love.<br /><br /> INDY<br /> I guess that depends on your <br /> definition.<br /><br /> MARION<br /> It was wrong. You knew it.<br /><br /> Indy releases her arms.<br /><br /> INDY<br /> Look, I did what I did. I don't expect <br /> you to be happy about it. But maybe <br /> we can do each other some good.<br /><br /> MARION<br /> Why start now?<br /><br /> INDY<br /> Shut up and listen for a second. I <br /> want that piece your father had. <br /> I've got money.<br /><br /> This stops her.<br /><br /> MARION<br /> How much?<br /><br /> INDY<br /> Enough to get you back to the States. <br /> Where are his things?<br /><br /> MARION<br /> Gone. I sold it all. It was all junk. <br /> The junk he wasted his life on.<br /><br /> INDY<br /> Everything?<br /><br /> Marion nods.<br /><br /> INDY<br /> (giving up)<br /> That's too bad.<br /><br /> Indy feels tired, defeated. Marion is pleased.<br /><br /> MARION<br /> You look disappointed. I like that. <br /> How's it feel?<br /><br /> Indy has to smile at her glee.<br /><br /> MARION<br /> (nods at his empty <br /> glass)<br /> What are you drinking?<br /><br /> INDY<br /> Seltzer.<br /><br /> MARION<br /> (refilling his glass)<br /> Real man's drink. Me, I like scotch. <br /> And I like bourbon. And vodka and <br /> gin. I'm not much for brandy. I'm <br /> off that.<br /><br /> She pours herself another as Indy watches, amused.<br /><br /> INDY<br /> You're a tough broad now, aren't <br /> you?<br /><br /> MARION<br /> It's no act, pal. This ain't <br /> Schenectady.<br /><br /> INDY<br /> I can only say I'm sorry so many <br /> times.<br /><br /> Marion looks at him thoughtfully, takes a drink.<br /><br /> MARION<br /> You really have money? You don't <br /> look rich.<br /> (Indy nods)<br /> I may be able to locate some of his <br /> things. I know who's got them. What <br /> do you want?<br /><br /> INDY<br /> A bronze piece, about this size. In <br /> the shape of the sun. Probably broken <br /> off at the bottom. Has a little hole <br /> in it, off-center. Does that sound <br /> familiar?<br /><br /> Marion thinks, nods slowly.<br /><br /> INDY<br /> Do you know where it is?<br /><br /> MARION<br /> Maybe. How much?<br /><br /> INDY<br /> Three thousand. American.<br /><br /> MARION<br /> (negative)<br /> That'll get me back, but not in style. <br /> This doodad must be pretty important.<br /><br /> INDY<br /> Maybe.<br /><br /> A huge smile lights up Marion's face.<br /><br /> MARION<br /> I knew it would happen eventually. I <br /> knew it. Something had to go my way.<br /> (pours herself another <br /> drink)<br /> I've got to think this out. I'm used <br /> to bargaining with yaks.<br /><br /> INDY<br /> Okay, five thousand. That's all I <br /> can give you now. I can get you more <br /> when you land in the States.<br /><br /> MARION<br /> You word, huh?<br /> (Indy nods)<br /> Just like you said you'd be back <br /> last time? That was your word too.<br /><br /> INDY<br /> I'm back, aren't I?<br /><br /> Marion sneers and they smile together.<br /><br /> INDY<br /> You can trust me.<br /><br /> MARION<br /> Come back tomorrow.<br /><br /> INDY<br /> Why?<br /><br /> MARION<br /> Because I said so, that's why. It's <br /> about time I called the shots in <br /> this relationship.<br /><br /> Indy nods, gets up to go.<br /><br /> MARION<br /> Wait a minute. Leave the five thousand <br /> here.<br /> (Indy hesitates)<br /> You want trust, give some. I want to <br /> smell your money.<br /><br /> Indy thinks about this a moment, then reaches inside his <br /> shirt and pulls cash from a money belt. He lays five grand <br /> on the bar.<br /><br /> INDY<br /> I trust you.<br /><br /> MARION<br /> You're an idiot.<br /><br /> INDY<br /> I've heard that.<br /><br /> Indy starts for the door. Marion takes another think. She is <br /> getting high.<br /><br /> MARION<br /> Hold it. Come here.<br /><br /> INDY<br /> (moving back)<br /> Bossy, aren't you?<br /><br /> MARION<br /> That's right. Give me a kiss.<br /><br /> Indy looks into her eyes, then leans over the bar and kisses <br /> her deeply. When the kiss ends, their faces are very close. <br /> Marion is flushed. She liked it and would like more. She <br /> raises her glass between them to discipline herself.<br /><br /> MARION<br /> Get out of my place.<br /><br /> Indy smiles and walks to the front door. Then, without looking <br /> back -<br /><br /> INDY<br /> Tomorrow.<br /><br /> He's gone. Marion stares after him, thinking. She takes a <br /> drink. Then slowly, her hand comes up to loosen the scarf <br /> that is draped around her throat. It falls away, revealing <br /> her graceful neck above the dipping top of her blouse. Hanging <br /> there on a gold chain against her white skin is a sun-shaped <br /> golden medallion. The bottom looks broken off. Marion lifts <br /> the medallion so she can see it in her hand, then looks <br /> thoughtfully after Indy.<br /><br /> EXT. STREETS OUTSIDE "THE RAVEN" - NIGHT<br /><br /> Indy sits thinking at the wheel of an old car. Finally, he <br /> puts the car in gear and drives away.<br /><br /> Across the street, the shadow in a doorway comes to life. A <br /> dark form steps out to look at Indy's departing car; it is <br /> the European Spy from the DC-3. He hurries off in the opposite <br /> direction.<br /><br /> DISSOLVE TO:<br /><br /> INT. "THE RAVEN" - NIGHT<br /><br /> Marion stands before the fire that is shrinking in the <br /> fireplace. She jabs at it abstractedly with a poker, thinking. <br /> Suddenly tears well up in her eyes. She lets the poker slip <br /> from her hand, wipes away the tears. She walks across the <br /> room to the end of the bar, still cluttered with bottles and <br /> glasses, and stops at the pile of American money Indy has <br /> left. She takes the chain from around her neck and lets the <br /> medallion slide off it into her hand. She places it on the <br /> bar next to the pile of money, thinking. Then, having reached <br /> some decision, she picks up the pile of bills, walks up the <br /> back of the bar and pulls a small wooden box from under the <br /> bar. She flips open the top, puts the cash inside and closes <br /> the top. She leaves the box on the bar and starts back toward <br /> the medallion. The front door of the saloon bursts open and <br /> Four Bad Men come in. Marion, halfway between the valuable <br /> possessions and not wishing to draw attention to either, <br /> stops where she is.<br /><br /> The Four Bad Men who advance on her are:<br /><br /> 1.) the obvious leader, a short, vile, sadistic German in <br /> spectacles by the name of BELZIG.<br /><br /> 2.) a trenchcoated SECOND NAZI.<br /><br /> 3.) a ratty-looking NEPALESE and<br /><br /> 4.) a mean MONGOLIAN. The second NAZI and the MONGOLIAN both <br /> carry submachine guns.<br /><br /> BELZIG<br /> Good evening, Fraulein.<br /><br /> MARION<br /> The bar's closed.<br /><br /> BELZIG<br /> We are not thirsty.<br /><br /> The Mongolian and the Nepalese poke around, checking to make <br /> sure there's no one else there.<br /><br /> Down at the end of the bar, the medallion lies partially <br /> hidden by surrounding glasses and bottles. The Second Nazi <br /> stops very near it, but turns his back to it to face Belzig <br /> and Marion.<br /><br /> MARION<br /> What do you want?<br /><br /> BELZIG<br /> The same thing your friend Dr. Jones <br /> wanted. Surely he told you there <br /> would be other interested parties.<br /><br /> Marion shakes her head.<br /><br /> BELZIG<br /> Ah, the man is nefarious. I hope for <br /> your sake he has not yet acquired <br /> it.<br /><br /> MARION<br /> Why, are you willing to offer more?<br /><br /> BELZIG<br /> Almost certainly. Do you still have <br /> it?<br /><br /> MARION<br /> No. But I know where it is.<br /><br /> Belzig's smile fades at this news. He's not a patient sort. <br /> Marion is chilled by the look. She turns and moves to the <br /> shelf of bottles behind her, reaching high for one, very <br /> near the large stuffed raven. He hand lingers there a moment <br /> and we see -<br /><br /> From an angle behind the stuffed raven, that the left wing <br /> spread hides a Baretta automatic pistol. Marion's hand is <br /> very near it, but withdraws with only a whiskey bottle as <br /> the Mongolian walks toward her behind the bar.<br /><br /> Marion opens the bottle before Belzig, who watches her <br /> intently.<br /><br /> MARION<br /> How 'bout a drink for you and your <br /> men?<br /><br /> The Second Nazi lights up at this suggestion. Belzig gives <br /> him a withering look.<br /><br /> BELZIG<br /> We will stick to the business at <br /> hand, Fraulein.<br /><br /> MARION<br /> (tough)<br /> Fine. Why don't you come back tomorrow <br /> when Jones is here and we'll have an <br /> auction?<br /><br /> Belzig gives her a cold look then turns and walks over toward <br /> the fireplace. As soon as his back is turned, the Second <br /> Nazi grabs the nearest whiskey bottle and takes a quick pull. <br /> In so doing, he leaves the medallion completely exposed. <br /> Marion is aware of this as she looks at him. But he quickly <br /> puts the bottle down again, obscuring the medallion, when <br /> Belzig speaks from the fireplace.<br /><br /> BELZIG<br /> I'm afraid an auction is not possible.<br /> (pause)<br /> Your fire is dying here, Fraulein.<br /> (a beat, then <br /> threatening)<br /> Why don't you tell us where the piece <br /> is right now?<br /><br /> MARION<br /> Listen, Herr Mac, I don't know who <br /> you're used to dealing with, but no <br /> one tells me what to do in my place.<br /><br /> Belzig, still looking in the fire, sneers and shakes his <br /> head.<br /><br /> BELZIG<br /> Americans! You're all alike. Fraulein <br /> Ravenwood. I'll show you want I'm <br /> used to.<br /><br /> He motions with his hand. The Mongolian moves up behind Marion <br /> and lifts her roughly over the top of the bar, knocking over <br /> bottles and spilling liquor. He deposits her on the other <br /> side, where the Nepalese and the Second Nazi flank her and <br /> hold her cruelly, arms behind her back. Marion raises a <br /> ruckus.<br /><br /> Belzig turns from the fireplace. In his hand is the poker, <br /> its end glowing orange. He advances on Marion. Marion stops <br /> yelling, her eyes widen in terror.<br /><br /> MARION<br /> Wait! I can be reasonable -<br /><br /> BELZIG<br /> That time is passed.<br /><br /> The glowing poker point moves inexorably across the room <br /> toward Marion's face.<br /><br /> MARION<br /> You don't need that. I'll tell you <br /> everything!<br /><br /> BELZIG<br /> Yes, I know you will.<br /><br /> Belzig has no intention of stopping now. The glowing tip is <br /> approaching Marion's face. The Nepalese watches with savage <br /> glee.<br /><br /> The tip of the poker is five inches from Marion's nose when <br /> there is a loud CRACK! and the fall of Indy's bullwhip wraps <br /> around the middle of the poker and tears it out of Belzig's <br /> hands. The poker sails high across the room, free of the <br /> whip, and lands in the heavy curtains that cover one window. <br /> The curtains immediately burst into flame.<br /><br /> The four Bad Men look in surprise toward the front entrance. <br /> Indy is poised there, the whip in his right hand, a .45 <br /> automatic raised toward them in his left.<br /><br /> INDY<br /> Hello.<br /><br /> Now everything begins to happen very fast -<br /><br /> The Mongolian had just come around the bar at the end opposite <br /> the medallion. He dives back to crouch behind the end of the <br /> bar, raising his submachine gun.<br /><br /> Belzig and the Second German dive behind tables near the <br /> bar. The Nepalese is slower to leave Marion, he draws a Luger. <br /> Indy's .45 barks and the Nepalese dies spinning against the <br /> bar. Indy fires in the direction of the Mongolian.<br /><br /> Marion swings up over the top of her bar. Belzig fires at <br /> her, but his bullets smash bottles behind the bar and thud <br /> into the raven.<br /><br /> Marion flattens out on the floor behind the bar as bullets <br /> hit above her. She reaches up, snatches the axe handle from <br /> where Mahdlo left it, and begins crawling down the length of <br /> the bar toward -<br /><br /> The Mongolian, who sticks his submachine gun out and fires <br /> blindly in Indy's direction.<br /><br /> Indy is in a crouch behind a table, trying to get a shot at <br /> someone. He doesn't notice in the din and confusion when the <br /> door bursts open. An incredible, fearsome GIANT SHERPA, almost <br /> seven feet tall, soars in and tackles Indy from behind. The <br /> whip flies from Indy's hand as he and the Giant Sherpa roll <br /> across the floor, upsetting furniture.<br /><br /> The Mongolian, seeing this, stands up confidently. Marion <br /> rises behind him and bashes him over the head with the axe <br /> handle. He goes down and out.<br /><br /> Fire has completely engulfed the curtains and is working <br /> across the ceiling on decorative yak skin bunting. A burning <br /> fragment drops to the top of the bar, which immediately lights <br /> up, fueled by the spilled alcohol. Full whiskey bottles <br /> explode like Molotov cocktails.<br /><br /> Rolling on the floor, Indy and the Giant Sherpa are fighting <br /> for control of Indy's .45. Belzig sees this and shouts to <br /> the Second Nazi, who is rising from cover with submachine <br /> gun in hand.<br /><br /> BELZIG<br /> Shoot them both!<br /><br /> SECOND NAZI<br /> He's our man!<br /><br /> BELZIG<br /> Do as I say!<br /><br /> Both the Giant Sherpa and Indy hear this. The Giant Sherpa <br /> exchanges an alarmed look with Indy and together they swing <br /> the .45 around toward the surprised Second Nazi. Two blasts <br /> blow him away.<br /><br /> That done, Indy brings a brass spittoon down on the Giant <br /> Sherpa's wrist and the .45 slides away. Indy jumps up and <br /> kicks the Giant Sherpa, who barely seems to feel it. He grabs <br /> Indy and flips him effortlessly onto a table.<br /><br /> Belzig now has a clear shot at Indy. He raises his luger.<br /><br /> Marion, at the end of the bar, finally gets the hand of the <br /> Mongolian's submachine gun. It roars to life in the general <br /> direction of the ceiling.<br /><br /> Belzig runs for cover as Marion gets control of the gun and <br /> levels it. Belzig dives around the end of the bar opposite <br /> Marion. When he has set himself, he peeks up over the edge <br /> of the scorched bar. The alcohol fire has moved down the bar <br /> and now, much to Belzig's surprise, he finds himself staring <br /> at the fire-blackened sun-shaped medallion!<br /><br /> His eyes widen. He cannot believe his good fortune. Without <br /> hesitation he picks up the metal medallion, palming it. <br /> Immediately there is a sickening searing sound and Belzig's <br /> expression changes from joy to agony. He screams in pain and <br /> tries to shake the red-hot medallion from his skin. Marion <br /> opens up and the bar starts to splinter in front of Belzig. <br /> The medallion comes free of Belzig's hand and rolls across <br /> the floor.<br /><br /> Belzig has had enough. In excruciating pain, he turns, sees <br /> a window, runs and dives through the glass.<br /><br /> An exhausted Indy uses his whole body to upend the Giant <br /> Sherpa, who lands hard on his back. They are surrounded by <br /> flames.<br /><br /> EXT. "THE RAVEN" - SNOW BANK - NIGHT<br /><br /> Belzig has his burned hand stuck deep in the snow. Now he <br /> withdraws it, steaming, and scurries off into the night like <br /> a wounded animal.<br /><br /> INT. "THE RAVEN" - NIGHT<br /><br /> Marion throws down the empty submachine gun and moves through <br /> the flames to the center of the bar where she left the box <br /> with the five grand. She finds the remains of the box and <br /> its contents: a shapeless pile of ash and charred wood.<br /><br /> MARION<br /> Unbelievable!<br /><br /> At the end of the bar, the Mongolian has come back to life. <br /> He shakes out his head, then reaches inside his coat and <br /> pulls out a Mauser pistol.<br /><br /> Indy smashes a chair over the head of the Giant Sherpa and <br /> the huge creature goes down.<br /><br /> The Mongolian points his Mauser through the smoke and flame <br /> at Indy. Suddenly, the Mongolian is shot dead.<br /><br /> Marion stands beneath her stuffed raven with the Baretta.<br /><br /> Indy moves quickly through the flames, his eyes scanning the <br /> floor. He picks up his bullwhip and his crumpled felt hat. <br /> He peers through the smoke till he spots Marion moving among <br /> the burning furniture.<br /><br /> INDY<br /> Let's get out of here!<br /><br /> MARION<br /> Not without that piece you want!<br /><br /> INDY<br /> It's here?<br /><br /> Marion nods, kicks aside a burning chair. Another burning <br /> beam falls from the roof. Indy pulls Marion close to him <br /> protectively.<br /><br /> INDY<br /> Forget it! I want you out of here. <br /> Now!<br /><br /> He begins dragging her out.<br /><br /> MARION<br /> (pointing)<br /> There!<br /><br /> She breaks away from him, darts back and picks the hot <br /> medallion up in the loose cloth of her blouse.<br /><br /> INDY<br /> Let's go!<br /><br /> MARION<br /> (looking around)<br /> You burned down my place!<br /><br /> INDY<br /> (figuratively)<br /> I owe you plenty!<br /><br /> MARION<br /> (literally)<br /> You owe me plenty!<br /><br /> INDY<br /> (smiles)<br /> You're something!<br /><br /> MARION<br /> I am something. And I'll tell you <br /> exactly what -<br /><br /> She holds up the medallion possessively.<br /><br /> MARION<br /> I'm your partner!<br /><br /> EXT. CAIRO - VARIOUS SHOTS - DAY<br /><br /> First we see the sprawl, the soaring minarets, the ancient <br /> skyline. Then we're closer, in the narrow, exotic streets, <br /> teeming with life: fierce-looking men in tattered galabiyas, <br /> black-gowned women with veiled faces, ragged, barefoot <br /> children.<br /><br /> INT. DINING ROOM - SALLAH'S HOUSE (OLD CAIRO)<br /><br /> Indy and Marion have been welcomed like family into the <br /> crowded home of SALLAH, his wife FAYAH, and their NINE <br /> CHILDREN (ages 4 - 18). Fayah, a huge, imposing woman, <br /> appears, at first glance, to be the power in the house. <br /> Sallah, a small, cheerful, energetic fellow in his forties <br /> defers to his wife in all matters of little importance. <br /> Suddenly the general liveliness at the children's table <br /> escalates into pandemonium, attracting the attention of the <br /> adults.<br /><br /> FAYAH<br /> Silence!<br /> (there is silence)<br /> Why do you forget yourselves?<br /><br /> The gaggle of grinning off-spring parts to reveal in their <br /> midst - a MONKEY. It is munching some flat Arab bread.<br /><br /> FAYAH<br /> What is this? Who brought this animal <br /> in?<br /><br /> All the children chatter their innocence at once. The Monkey <br /> chatters too; it's an entertainer. The Monkey jumps from the <br /> children's table to the adults' and struts slowly up toward <br /> Marion, who thinks it's the cutest thing she ever saw. When <br /> it reaches her, it takes off its turban and does a deep, <br /> grand bow to her. She is delighted and takes the Monkey into <br /> her arms. The Monkey kisses her cheek. The children laugh.<br /><br /> MARION<br /> Why, thank you. I like you too.<br /><br /> FAYAH<br /> Then it shall be welcome in our house.<br /><br /> MARION<br /> Oh, no! You don't have to have it <br /> around if you don't want it -<br /><br /> SALLAH<br /> (cheerfully)<br /> All of Allah's creatures are welcome <br /> here. You please us by letting us <br /> please you.<br /><br /> EXT. COURTYARD - SALLAH'S HOUSE - NIGHT<br /><br /> Indy and Sallah sit in the small, protected courtyard. Sallah <br /> holds the two sections of the headpiece, the medallion and <br /> the base, and has for the first time fitted them together. <br /> They fit perfectly and complete the headpiece. He peruses <br /> the markings on the headpiece quizzically. Indy is cleaning <br /> and loading a .45 automatic.<br /><br /> INDY<br /> I knew the Germans would hire you, <br /> Sallah. They couldn't have an <br /> excavation in the desert without the <br /> best digger in Egypt.<br /><br /> SALLAH<br /> All Arabs look alike to them, Indy.<br /><br /> INDY<br /> Tell me about the map room at Tanis.<br /><br /> SALLAH<br /> We found it three days ago. I broke <br /> through myself.<br /><br /> INDY<br /> Those Nazis are moving awfully fast.<br /><br /> SALLAH<br /> The Frenchman is helping them.<br /><br /> Indy reacts.<br /><br /> INDY<br /> Belloq. So he got away from the <br /> Indians. This is going to be more <br /> interesting that I thought.<br /><br /> SALLAH<br /> I'm afraid this has put the Germans <br /> close to finding the Well of the <br /> Souls.<br /><br /> INDY<br /> (indicates the <br /> headpiece)<br /> Even Belloq won't be able to find it <br /> without that. Can you make anything <br /> of those markings? They're nothing <br /> I'm familiar with.<br /><br /> SALLAH<br /> (shakes his head "no")<br /> But I know someone who might. You <br /> can go to see him tomorrow.<br /> (a worried expression)<br /> Indy... something bothers me.<br /><br /> INDY<br /> What is it, my friend?<br /><br /> Sallah finds it hard to say. When he finally speaks, his <br /> words are accompanied by a strange, eerie, foreboding rush <br /> of wind through the courtyard. Just a coincidence we might <br /> suppose.<br /><br /> SALLAH<br /> It is the Ark. If it is there, at <br /> Tanis... It is not something man was <br /> meant to disturb... Death has always <br /> surrounded it. It is not of this <br /> earth.<br /><br /> The wind dies down. Indy shakes off a chill and stares <br /> thoughtfully at his friend.<br /><br /> EXT. HEAVILY TRAFFICKED CAIRO STREET - DAY<br /><br /> Indy and Marion are briskly walking along one of Cairo's <br /> busy bazaar streets. Vendors with fine cloth, pottery, <br /> baskets, jewelry, etc line the street. Marion has the Monkey <br /> from Sallah's house on her shoulder.<br /><br /> INDY<br /> Do you really need that monkey?<br /><br /> MARION<br /> I'm surprised at you, Indy. Talking <br /> that way about our baby. He's got <br /> your looks, too.<br /><br /> INDY<br /> And your brains.<br /><br /> As Indy and Marion turn a corner, the Monkey seems to notice <br /> something and immediately jumps from Marion's shoulder and <br /> hurries off at a frantic pace down the street.<br /><br /> MARION<br /> (looking disappointed)<br /> Hey! Hey!... where're you going?<br /><br /> INDY<br /> (dragging Marion on)<br /> He'll be OK. Come on. Come on.<br /><br /> EXT. ANOTHER CAIRO STREET - DAY<br /><br /> The Monkey is seen running around another corner and jumps <br /> into the waiting arms of MONKEY MAN, who appears to be like <br /> a beggar with a dirty turban and an eye patch. Monkey Man <br /> immediately hurries down the street and passes into a <br /> building. In the building are two GERMAN AGENTS. Monkey Man <br /> and the Monkey both give the Heil Hitler salute and engage <br /> in quick talk.<br /><br /> Monkey Man quickly leaves the two German Agents and gets <br /> back to the street. He is obviously shadowing Indy and Marion. <br /> Indy and Marion are just now passing by the Monkey Man ducks <br /> back behind some baskets.<br /><br /> EXT. ANOTHER BUSY CAIRO STREET - DAY<br /><br /> Indy and Marion are passing under a balcony where a lone <br /> GERMAN AGENT stands watch. After they pass, the Agent nods <br /> to some BAD ARABS who are hiding in the shadows of the street. <br /> In a moment, Indy and Marion pass by the break. Monkey Man <br /> turns and looks up at a roof further down the alley. He waves <br /> with his hand. Someone up there waves back.<br /><br /> EXT. A SMALL BAZAAR - DAY<br /><br /> Indy and Marion have reached a tiny square, made even more <br /> cramped by its use as a small bazaar. They have started <br /> working their way through the crowd when several Bad Arabs <br /> and a German Agent begin to converge on them. Indy immediately <br /> sees what's happening and pulls the bull whip from his jacket. <br /> The first Bad Arab to reach them gets hit in the mouth by <br /> the handle of the whip. Now all hell breaks loose, with Bad <br /> Arabs, Innocent Shoppers, baskets of fruit and tables of <br /> goods flying every which way in the constricted space.<br /><br /> INDY<br /> (to Marion)<br /> Run! Get out of here!<br /><br /> Indy catches a dagger-wielding Bad Arab around the legs with <br /> the whip and flips him. Marion is reluctant to leave Indy.<br /><br /> INDY<br /> Go, dammit! Go!<br /><br /> Marion goes. She runs off between two buildings. A Bad Arab <br /> takes off after her. Monkey Man, now standing at the edge of <br /> the square, points at Marion. The Monkey jumps off his <br /> shoulder and follows Marion.<br /><br /> EXT. BETWEEN THE BUILDINGS - DAY<br /><br /> Marion runs along the narrow space and soon encounters a <br /> five foot wall. She flops over it. The Bad Arab is right on <br /> her heels. He reaches the wall and vaults over. On the other <br /> side of the wall, the Bad Arab lands in a crouch, looks ahead <br /> and doesn't see Marion. Immediately a heavy earthen pot <br /> smashes over his head, putting him out. Marion steps from an <br /> alcove and starts to run toward the street at the other end <br /> of the walkway. Suddenly another Bad Arab and a new German <br /> Agent appear in the street at that end. Before they can spot <br /> her, Marion retreats to the alcove again. There is a huge <br /> rattan basket sitting there. Marion climbs in and closes the <br /> top above her.<br /><br /> The only witness: The Monkey, who is now perched on the fire <br /> foot wall.<br /><br /> EXT. THE SMALL BAZAAR - DAY<br /><br /> Chaos. An entire booth of pots and pans collapses on a Bad <br /> Arab and a German Agent as Indy whips away a support.<br /><br /> EXT. BETWEEN THE BUILDINGS - DAY<br /><br /> The chattering Monkey leads a German Agent and two Bad Arabs <br /> to Marion's hiding place, gesturing maniacally.<br /><br /> EXT. THE SMALL BAZAAR - DAY<br /><br /> Indy ducks under the swinging blade of a huge Arabian sword <br /> and kicks the Bad Arab Swordsman in the groin.<br /><br /> EXT. SIDE STREET - DAY<br /><br /> The German Agent leads the way as the two Bad Arabs carry <br /> the huge basket above their heads. The basket top has been <br /> fastened closed, but Marion is making a fuss inside. At the <br /> place where the street cuts across the far side of the bazaar, <br /> Marion is able to wedge the top open one inch and screams -<br /><br /> MARION<br /> Indy-y-y-y!<br /><br /> EXT. THE SMALL BAZAAR - DAY<br /><br /> Indy has heard her. He looks across the square as the basket <br /> and its escorts disappear beyond a building. One last Bad <br /> Arab rises before him. Indy's whip flashes and the Bad Arab's <br /> robe falls down to his ankles. Indy frantically pushes his <br /> way through the panicked mass of humanity in the direction <br /> the basket has gone.<br /><br /> EXT. THE FOOT CHASE - INTERCUTTING INDY AND THE MOVING <br /> BASKET - DAY<br /><br /> The Bad Guys move the basket as fast as they can through <br /> streets, alleys and passageways thick with people. Indy always <br /> seems to round a corner just in time to catch a glimpse of <br /> the basket before it disappears around a new corner. Indy <br /> must fight a flow of humanity as powerful as an ocean riptide. <br /> Finally, at the head of one particularly crowded alley, Indy <br /> leaps up onto a wall for a clearer view. Whatever he sees <br /> gives him an idea and he cuts between two buildings rather <br /> than following the basket.<br /><br /> EXT. DESERTED ALLEY - DAY<br /><br /> Two Bad Arabs come running down the Alley with the basket <br /> between them. Suddenly, Indy's whip flashes out sending both <br /> Arabs and the basket tumbling. Indy steps into view, his .45 <br /> trained on the sprawled Arabs, and looks at the basket. The <br /> top has come flying off and the contents have clattered onto <br /> the cobblestone: inside is not Marion, but a load of <br /> contraband pistols, rifles and ammo. Indy is advancing on <br /> the trembling Bad Arabs with an ugly look when suddenly he <br /> hears Marion scream around the corner.<br /><br /> EXT. DESERTED SQUARE - DAY<br /><br /> Indy rounds the corner and is immediately driven back by <br /> machine gun fire. Taking cover, he gets quick, intermittent <br /> glimpses of this scene: At the far corner of the large, <br /> deserted square is a canvas-covered truck. Two Bad Arabs are <br /> hurrying toward is with a large rattan basket between them, <br /> Marion screaming inside. A German Agent is covering their <br /> retreat with a machine gun from the cab of the truck. Indy <br /> runs up to see the rattan basket being heaved into the back <br /> of the truck.<br /><br /> EXT. BACK OF THE TRUCK - DAY<br /><br /> What Indy cannot see is that the basket lands among an ominous <br /> load of German munitions, dynamite and firearms. The truck <br /> immediately peels out.<br /><br /> EXT. DESERTED SQUARE - DAY<br /><br /> The German Agent has stopped firing in order to drive. He <br /> floors it, aiming for a street at the corner of the square. <br /> Indy uses the lull to take careful aim at the German Agent's <br /> profile and fire off three careful shots. The German Agent <br /> is hit, blasted dead against the steering wheel. The speeding <br /> truck swerves, hits a wall, rolls over and explodes in an <br /> enormous, multi-leveled eruption as its contents ignite. <br /> Several surrounding buildings are leveled.<br /><br /> Indy, blown back across the square, looks on, astounded and <br /> horror-stricken.<br /><br /> INDY<br /> Marion.<br /><br /> INT. ARAB BAR - NIGHT<br /><br /> A dark, smoke-filled den on iniquity. The patrons, almost <br /> all fearsome Arabs, sit in small shadowy groups around the <br /> room. Indy stands at the bar finishing off a fifth of bourbon. <br /> He is drunk. The ARAB BARTENDER places a new bottle of <br /> expensive bourbon in front of him. Indy eyes is queerly.<br /><br /> ARAB BARTENDER<br /> The gentleman in the corner sent it. <br /> He would like you to join him.<br /><br /> INDY<br /> (doesn't even look)<br /> Too bad. I'm drinking alone.<br /><br /> The Arab Bartender does a take, looking at the three, tough <br /> GERMAN HENCHMEN who have surrounded Indy from out of the <br /> smoke, their hands stuffed in bulging trenchcoat pockets. <br /> Indy notices them now with a bleary glance. He decides he's <br /> in no shape to kill or be killed and moves with them across <br /> the room, taking his bottle with him. The Arab patrons take <br /> this in and mind their own business.<br /><br /> The occupant of the smoke-shrouded corner table becomes <br /> visible only as Indy reaches there: it is Emile Belloq. He <br /> is drinking wine.<br /><br /> INDY<br /> Belloq.<br /><br /> BELLOQ<br /> Good evening, Dr. Jones.<br /><br /> INDY<br /> I ought to kill you right now.<br /><br /> BELLOQ<br /> It was not I who brought the girl <br /> into this dirty business.<br /><br /> Indy knows its true; that's what's tearing him up.<br /><br /> BELLOQ<br /> Sit down, please, before you fall <br /> down. We can behave as civilized <br /> people. I'm afraid it will be your <br /> last opportunity.<br /><br /> Indy sits, glancing at the German Henchmen, who settle nearby, <br /> just out of earshot.<br /><br /> INDY<br /> Not a very private place for a murder.<br /><br /> BELLOQ<br /> (looking around)<br /> These Arabs will not interfere in <br /> the white man's business. They do <br /> not care if we kill each other off.<br /> (takes a sip of wine, <br /> refers to it)<br /> Terribly difficult finding a decent <br /> vintage here. You were quite vigorous <br /> in Shanghai. Unfortunately, our friend <br /> the Wild Boar had taken the precaution <br /> of making several copies of the piece.<br /><br /> Indy registers this as he takes a drink. Belloq watches him <br /> with disdainful amusement.<br /><br /> BELLOQ<br /> How odd that is should end this way <br /> for us, after so many... stimulating <br /> encounters. I almost regret it. Where <br /> shall I find a new adversary so close <br /> to my own level?<br /><br /> INDY<br /> Try the local sewer.<br /><br /> BELLOQ<br /> I know you despise me. We always <br /> hate in others that which we most <br /> fear in ourselves. And you and I are <br /> very much alike.<br /><br /> INDY<br /> Now you're getting nasty.<br /><br /> BELLOQ<br /> We have always done the same kind of <br /> work. Our methods have not differed <br /> as much as you pretend. I am a shadowy <br /> reflection of you. But it would have <br /> taken only a nudge to make you the <br /> same as me, to push you out of the <br /> light.<br /><br /> There's a certain amount of truth to this; the recognition <br /> of it flickers across Indy's bleary eyes. Belloq sees it <br /> there.<br /><br /> BELLOQ<br /> You know it to be true! How nice. <br /> And how ironic the timing.<br /><br /> Belloq leans forward, eyes shining, voice suddenly different.<br /><br /> BELLOQ<br /> Do you realize what the Ark is?<br /> (very intense)<br /> It's a transmitter. A radio for <br /> talking to God! And now it is within <br /> my grasp.<br /><br /> INDY<br /> What about your boss, der Fuhrer? I <br /> thought he was waiting to take <br /> possession.<br /><br /> Belloq glances into the gloom at the German Henchmen.<br /><br /> BELLOQ<br /> (quieter)<br /> When the time is right. When I am <br /> finished with it.<br /><br /> INDY<br /> I hope your friends are patient. <br /> Dangerous work, Belloq.<br /><br /> BELLOQ<br /> Yes. Very. You may consider yourself <br /> fortunate that your involvement <br /> concludes here.<br /><br /> INDY<br /> Tell me, did you get away with the <br /> idol?<br /><br /> BELLOQ<br /> (negative)<br /> I was lucky to get away with my life. <br /> The Hovitos proved quite narrow-minded <br /> about the whole matter.<br /><br /> Indy takes a drink.<br /><br /> INDY<br /> You know, if it's God you want to <br /> talk to, maybe I can arrange it.<br /><br /> BELLOQ<br /> (smiles)<br /> You have not changed. But, please, <br /> do not reach for your weapon until <br /> you are ready to die.<br /><br /> The front door of the bar slams open and all nine of SALLAH'S <br /> CHILDREN scamper in and over to a surprised Indy. Two of the <br /> smallest hop into his lap.<br /><br /> LITTLE SON<br /> Uncle Indy, we have been looking for <br /> you.<br /><br /> LITTLE DAUGHTER<br /> Come home now, Uncle. Hurry!<br /><br /> Suddenly the Arab patrons of the bar take an intense interest <br /> in the situation, shifting their weapons.<br /><br /> INDY<br /> Yes. Yes, I'll come now.<br /><br /> Indy stands up. The German Henchmen and poised. Belloq eyes <br /> the Arab patrons and signals for the Henchmen to relax.<br /><br /> BELLOQ<br /> Next time, Indiana Jones, it will <br /> take more than children to save you.<br /><br /> The children usher Indy out.<br /><br /> INT. SALLAH'S TRUCK - IN FRONT OF ARAB BAR - NIGHT<br /><br /> Indy climbs into the cab of Sallah's truck with a smiling <br /> Sallah as the children pile into the back. Sallah pulls out.<br /><br /> SALLAH<br /> I thought we would find you there.<br /> (indicating the kids)<br /> Better than the United States Marines, <br /> eh?<br /><br /> INDY<br /> (nods)<br /> Thanks you.<br /> (grave)<br /> Marion's dead.<br /><br /> SALLAH<br /> Yes, I know. I am sorry.<br /> (pause)<br /> More reason than ever to beat the <br /> bastards.<br /> (he touches Indy)<br /> Life goes on, Indy.<br /> (indicates the kids <br /> again)<br /> There is the proof.<br /><br /> Indy looks back there, nods.<br /><br /> SALLAH<br /> I have much to tell you, Indy.<br /><br /> INT. SALLAH'S HOUSE<br /><br /> Fayah brings in a tray of food and puts it on the table. The <br /> bowl of dates is in one corner. As Fayah leaves the room, <br /> the Monkey slips out of Sallah's lap and disappears under <br /> the table. Indy leans over the food tray, his hand hovering <br /> over the dates. But he chooses some cheese and bread instead.<br /><br /> INDY<br /> And they made the calculation in the <br /> map room?<br /><br /> SALLAH<br /> (nods vigorously)<br /> This morning. Belloq and the boss <br /> German, Shliemann. When they came <br /> out of the map room, we were given a <br /> new spot in which to dig... out away <br /> from the camp.<br /><br /> INDY<br /> (resigned)<br /> The Well of the Souls.<br /><br /> Sallah nods, moves to the food. He picks up a date, then <br /> changes his mind and drops it, taking a bunch of grapes <br /> instead. Indy picks up a chicken leg in one hand and a date <br /> in the other, his mind distracted. Fayah enters the room <br /> just in time to see Indy flip the date high into the air and <br /> try to catch it in his mouth. It bounces off his chin and <br /> falls to the floor. Indy looks sheepishly at Fayah. Fayah <br /> picks up the fallen date and puts it in the dirty ash tray <br /> she is now removing. Amir speaks in a slow, raspy voice <br /> without looking up.<br /><br /> AMIR<br /> Come. Look.<br /><br /> The two men go and huddle over the old man. The Monkey peeks <br /> up over the edge of the table at the array of food. He picks <br /> up a date and disappears below the table. Amir points to <br /> some markings on the lower part of the headpiece.<br /><br /> AMIR<br /> This is a warning... not to disturb <br /> the Ark of the Covenant.<br /><br /> INDY<br /> Just want I need.<br /><br /> The Monkey's paw comes up over the edge of the table and <br /> grabs another date.<br /><br /> INDY<br /> How 'bout the height of the staff? <br /> Did Belloq get it off of there?<br /><br /> AMIR<br /> Yes... it is here.<br /><br /> Indy, nervous, goes back to the food tray, picks up another <br /> date. When he turns back to the men, the Monkey's paw grabs <br /> another date.<br /><br /> We see the headpiece in closeup on the table. Amir's crooked <br /> fingers trace a line of markings along the bottom section to <br /> the break in the piece.<br /><br /> AMIR<br /> It says it is... ten jamirs high...<br /><br /> SALLAH<br /> About seventy-five inches.<br /><br /> AMIR<br /> Wait! I am not finished...<br /><br /> Amir's finger moves across the break as the markings continue <br /> on the sun medallion.<br /><br /> AMIR<br /> (reading)<br /> "And one jamir to honor the Hebrew <br /> God whose Ark this is."<br /><br /> Indy, still holding the date, exchanges a long look with <br /> Sallah.<br /><br /> INDY<br /> You said their top section was blank. <br /> Are you absolutely sure?<br /><br /> Sallah nods.<br /><br /> INDY<br /> Belloq's staff is seven and a half <br /> inches short. They're digging in the <br /> wrong spot!<br /><br /> Sallah and Indy begin to laugh. Amir gives them a glance and <br /> returns to his wine. Sallah leans over and kisses the old <br /> man.<br /><br /> SALLAH<br /> (to Amir)<br /> A home run, my friend, grand slam!<br /> (to Indy)<br /> We have a saying - "A little luck is <br /> better than much smartness." Indy, <br /> pardner, you are very lucky fellow.<br /><br /> Indy hoots. Then he takes the data in his hand and flips it <br /> high in the air. He opens his mouth to catch it, but it <br /> doesn't come down. He has inadvertently thrown it into a <br /> bowl of a hanging lamp. This makes the men laugh even harder.<br /><br /> Indy goes over and picks up another date. He turns laughing <br /> to Sallah and doesn't see as the Monkey's paw comes up, <br /> slowly, takes another date and begins to withdraw. Suddenly <br /> the paw is stricken with palsy and the unseen Monkey goes <br /> into its death throws. Sallah watches the paw as though <br /> hypnotized. Finally the paw slips from sight and we hear a <br /> solid THUMP! on the floor. Sallah walks around the table and <br /> looks at the floor. The Monkey lies dead among a mess of <br /> date pits.<br /><br /> Indy is in a happy world of his own. He throws his date high <br /> in the air. He positions himself under it and waits for it <br /> to drop in. Here it comes. Right on target. As it's about to <br /> disappear into Indy's mouth, Sallah's hand flashes in and <br /> grabs it. Indy looks mystified and disappointed. Sallah <br /> motions toward the dead Monkey.<br /><br /> SALLAH<br /> Bad dates.<br /><br /> EXT. DESERT ROAD - MORNING<br /><br /> Two old trucks come down a narrow mountain road and onto the <br /> flat surface of the desert.<br /><br /> Further out into the desert, the one in the lead, Sallah's <br /> truck, stops and the second one, Omar's truck, pulls up beside <br /> it. There are half dozen Arab Diggers in Omar's truck. Indy, <br /> dressed as an Arab, gets out of the cab of Sallah's truck <br /> and moves over to confer with OMAR, another old friend. They <br /> point off into the desert and reach some conclusion. Indy <br /> gives him a pat on the back; Omar turns off the road and <br /> drives into the desert with his workers. Indy hops back in <br /> the cab of Sallah's truck with Sallah. As they move down the <br /> road we see that the back of the truck holds three other <br /> Arab Diggers.<br /><br /> EXT. RISE ABOVE THE TANIS DIGS - MORNING<br /><br /> Indy and Sallah are lying in classic shouting fashion at the <br /> top of the rise looking down on the Tanis Digs. Down behind <br /> them, Sallah's truck is parked with the three Arab Diggers.<br /><br /> INDY<br /> My God! They aren't kidding!<br /><br /> WHAT HE SEES<br /><br /> The Tanis Digs are laid out below like a painting. Trucks, <br /> bulldozers, Arab workers and German supervisors are <br /> everywhere. The excavations themselves are extensive and <br /> somewhat random-holes have been dug and then abandoned, <br /> foundations and passageways unearthed and then deserted. <br /> Beyond the main digs, a crude airstrip has been created. <br /> Sallah points to what appears to be a mound of dirt with a <br /> hole in it near the center of the activity.<br /><br /> SALLAH<br /> There! That is the map room!<br /><br /> INDY<br /> What time does the sun hit the map?<br /><br /> SALLAH<br /> Just after eight.<br /><br /> INDY<br /> We haven't got much time. Where are <br /> the Germans digging for the Well of <br /> the Souls?<br /><br /> Sallah points out into the desert a short way beyond the <br /> main area of activity. The desert turns to sand dunes out <br /> there, the surface undulating into the distance. Several <br /> trucks and men are out there and a bulldozer is lumbering <br /> noisily toward it.<br /><br /> INDY<br /> Okay. Let's go.<br /><br /> EXT. THE TANIS DIGS - MORNING<br /><br /> Sallah's truck drives through the camp, one of the Arab <br /> Diggers at the wheel. Indy and Sallah are in the back and <br /> look just like the other two Arab Diggers. Sallah's truck <br /> does behind a tent and when it appears on the other side, <br /> Indy and Sallah are gone.<br /><br /> EXT. AMONG THE TENTS - MORNING<br /><br /> Indy and Sallah move stealthily among the tents. Indy carries <br /> a smooth wooden staff almost seven feet tall. They stop <br /> between two tents and look across a path at the entrance to <br /> the map room. What appeared to be a mound of dirt is actually <br /> the roof on the ancient building. The hole/entrance is a <br /> five-foot square skylight. Indy looks around, then walks <br /> casually to the edge of the hole and looks inside. Sallah <br /> joins him, producing a length of rope from his robes. Indy <br /> drops the staff into the unseen map room as Sallah ties the <br /> rope around on oil drum. When it's secure, Indy wastes no <br /> time disappearing down it into the map room.<br /><br /> INT. MAP ROOM<br /><br /> Indy is down the twenty feet to the floor of the room in <br /> seconds. He tugs on the rope and it immediately gets pulled <br /> up. Indy looks around with real wonder and excitement. The <br /> room is lovely, with elaborate wall carvings and frescoes, <br /> all lit by the bright stream of sunlight flooding in from <br /> above. This beam of light leads Indy's eye to the far end, <br /> and the room's truly remarkable feature: built into the floor <br /> in meticulous relief is a miniature stone model of the ancient <br /> city of Tanis. Already, the sunlight has worked its way down <br /> the far wall and is edging onto the miniature of the city. <br /> On the floor, to the skylight side of the miniature, is an <br /> elaborate line created by embedded mosaic tiles. The evenly <br /> spaced slots in the line, each accompanied by a symbol of a <br /> time of year, are for the base of the staff. Indy pulls the <br /> headpiece from his robes - it has been welded together - and <br /> reaches for the staff.<br /><br /> EXT. ABOVE THE MAP ROOM - DAY<br /><br /> An extremely nervous Sallah has the gathered rope in his <br /> hands and is trying to appear casual as he inches back toward <br /> the oil drum. There is now a good bit of activity going on <br /> up here.<br /><br /> JEEP GERMAN (O.S.)<br /> Hey! You, the skinny one!<br /><br /> Sallah jumps about three feet. The JEEP GERMAN is standing <br /> in an open space ten yards away looking at Sallah.<br /><br /> JEEP GERMAN<br /> Yes, you. What are you doing there?<br /><br /> Sallah gestures his innocence.<br /><br /> JEEP GERMAN<br /> Well bring that rope over here, you <br /> cur.<br /><br /> The Jeep German starts back toward his major concern: his <br /> jeep is stuck in some sand beyond the next tent. Some Arab <br /> Workers are trying in vain to budge it. Now another German <br /> has backed his truck up to it. Sallah can think of nothing <br /> to do expect obey. With a worried glance at the map room, be <br /> begins untying the rope from the oil drum.<br /><br /> INT. THE MAP ROOM<br /><br /> Indy is examining the results of Belloq's work. Red paint <br /> marks one of the miniature buildings in the layout and a <br /> white calibrated tape has been strung from that building <br /> back to a miniature of the map room. Now Indy begins examining <br /> the mosaic base line for the staff. Sunlight has moves further <br /> down across the miniature.<br /><br /> EXT. IN THE CAMP - DAY<br /><br /> Sallah watches nervously as his precious rope is pulled taut <br /> between the pulling truck and the stuck jeep. He doesn't <br /> notice that he has chosen to stand next to a large, steaming <br /> kettle of food until -<br /><br /> HUNGRY GERMAN (O.S.)<br /> Bring us some of that!<br /><br /> He points to the kettle. Sallah looks frantically from the <br /> rope, back to the skylight of the map room, to the kettle of <br /> food.<br /><br /> HUNGRY GERMAN<br /> Now, idiot!<br /><br /> Sallah picks up some serving pieces and gets to work.<br /><br /> INT. THE MAP ROOM<br /><br /> The moment has arrived. Even the tension of the circumstances <br /> cannot distract Indy from the purity of what he is about to <br /> do. All his calculations are adjustments complete, Indy takes <br /> the Staff of Ra and places it - CLINK! - in the right <br /> depression on the base line. This is as active and exciting <br /> a moment as any archeologist can dream of and, at heart, <br /> that is exactly what Indy is. The sunlight catches the very <br /> top of the headpiece and moves within a fraction of an inch <br /> of the tiny hole in its sun.<br /><br /> The edge of the sunlight moving across the miniature city is <br /> still a good two feet beyond the spot Belloq has settled on. <br /> And now that line of light is broken by the shadow of an <br /> ornate sun at the top of the staff.<br /><br /> Indy's face reflects his concentration. And then his immense <br /> pleasure. He sees what he came for.<br /><br /> Out of the miniature city, one small building is being lit <br /> by a tiny beam of sunlight in the center of the shadow of <br /> the metal sun. And by some trick of ancient artistry, this <br /> one building responds to the sunlight like none of the others. <br /> The golden light permeates it: it seems to glow. The building <br /> is in a direct line with Belloq's - all the Frenchman's other <br /> calculations were right - but it is a foot and a half beyond <br /> it.<br /><br /> EXT. IN THE CAMP - DAY<br /><br /> Sallah, sweating profusely, has finished serving the line of <br /> Breakfasting Germans and now heads back to replace the kettle <br /> and get away.<br /><br /> HUNGRY GERMAN<br /> Water. Bring us water.<br /><br /> INT. MAP ROOM<br /><br /> Indy is on his knees at the miniature city, a special tape <br /> measure in his hand. Indy has the tape strung from Belloq's <br /> mistaken spot to his own correct spot. He gets his reading, <br /> leaps up and crosses to the erect staff. He pulls the <br /> headpiece off the staff and hides it in his robes. He quickly <br /> breaks the wooden staff in two and throws the pieces behind <br /> a pile of debris. Then he moves quickly to beneath the <br /> skylight.<br /><br /> INDY<br /> (stage whisper)<br /> Sallah.<br /> (he waits, then louder)<br /> Sallah!<br /><br /> More waiting. Nothing. Indy looks around for some alternative <br /> means of escape. The room doesn't offer any. He looks up at <br /> the skylight again.<br /><br /> INDY<br /> (loudest)<br /> Sallah!<br /><br /> A long pause. Then something comes down. A makeshift rope. <br /> Really just a bunch of clothing tied together - tunics, robes, <br /> pants. But what we see first and most prominently, the first <br /> section of Indy's escape rope, is a bright Nazi flag. Indy <br /> beams and climbs.<br /><br /> EXT. ABOVE THE MAP ROOM - DAY<br /><br /> Indy sticks his head out the skylight, sees it clear and <br /> flops his body out. Sallah, crouching behind the oil drum, <br /> immediately starts pulling in the makeshift rope. Sallah <br /> stuffs the rope in the oil drum and the two men begin waking <br /> toward some tents.<br /><br /> HUNGRY GERMAN (O.S.)<br /> Hey, you! More water over here!<br /><br /> Sallah glances at Indy, Then hurries back in that direction. <br /> The Hungry German focuses on Indy.<br /><br /> HUNGRY GERMAN<br /> Why aren't you at the digs? Come <br /> here!<br /><br /> Indy bows in wild subservience and hurries off in the opposite <br /> direction.<br /><br /> HUNGRY GERMAN<br /> (yelling after him, <br /> irritated)<br /> No, dummkopf, I said come!<br /><br /> EXT. BETWEEN TWO TENTS - DAY<br /><br /> Indy hustles between the tents. Up ahead, two German Officers <br /> stop to talk, blocking his exit. He moves along the side of <br /> one of the tents until he finds an opening and slips inside.<br /><br /> INT. THE TENT<br /><br /> Indy finds himself in a tent set up for rather comfortable <br /> living. He has just started to cross it when he hears a loud, <br /> excited grunting. He turns toward the sound. In the corner, <br /> tied to a chair and gagged is Marion. Indy rushes to her, <br /> snatches the gag from her mouth and embraces her. They kiss, <br /> deep and long.<br /><br /> INDY<br /> I though you were dead.<br /><br /> MARION<br /> They were throwing me around like a <br /> rag doll.<br /><br /> INDY<br /> They must have switched baskets. <br /> Thank god for that! Bless those <br /> bastards. Have they hurt you?<br /><br /> MARION<br /> No. Not since I got here. They just <br /> asked about you - what you knew. The <br /> Frenchman's got the hot's for me. <br /> I've been playing that along. Oh, <br /> Indy, get me out of here.<br /><br /> Indy pulls out a knife and then stops suddenly, thinking.<br /><br /> MARION<br /> What's wrong?<br /><br /> INDY<br /> (putting the knife <br /> away)<br /> I have to leave you here for a little <br /> while. I know where the Ark is. If I <br /> take you out of here they'll start <br /> combing the place for us.<br /><br /> MARION<br /> (louder)<br /> Cut me loose!<br /><br /> INDY<br /> Keep your voice down.<br /><br /> MARION<br /> (screaming)<br /> I said get me out of -<br /><br /> Indy pops the gag back in her mouth. Her eyes widen in fury <br /> and she grunts obscenities at him.<br /><br /> INDY<br /> Look, you don't know how glad I am <br /> to see you. And I don't like doing <br /> this. But the whole thing will be <br /> shot if you don't just sit here <br /> quietly. They haven't hurt you in <br /> the last twenty-four hours, they <br /> aren't going to start now. I'll be <br /> back to get you in no time.<br /><br /> He kisses her forehead, jumps up and hurries out of the tent.<br /><br /> EXT. SAND DUNE OUTSIDE DIGS - DAY<br /><br /> With the digs behind them, Indy and Sallah run up to the <br /> ridge of the dune and over the top. At the bottom of the far <br /> side, Omar's truck is parked. Omar and his men are waiting.<br /><br /> EXT. DIFFERENT DUNE - DAY<br /><br /> This new spot gives Indy a higher, better view of the whole <br /> scene. Indy is using a surveyor's instrument to take a reading -<br /><br /> WHAT HE SEES<br /><br /> Looking through the instrument, Indy gets a line from the <br /> map room through the site where the Nazis are digging in the <br /> dunes to a spot several dunes over. We focus on that virgin <br /> spot of well-hidden sand as -<br /><br /> INDY<br /> There!<br /><br /> EXT. INDY'S DIG - DAY<br /><br /> Omar's truck is parked at the spot just viewed from afar. <br /> Dunes rise on either side. One of Omar's men has been posted <br /> as a lookout up on a ridge. Everybody else - Indy, Sallah, <br /> Omar, and his men - have begun digging for the Wells of the <br /> Souls.<br /><br /> DISSOLVE TO:<br /><br /> SAME SCENE - NIGHT<br /><br /> They continue to dig furiously, all of them drenched in sweat. <br /> The hole has grown but this is slow, back-breaking work.<br /><br /> INT. COMMAND TENT - TANIS DIGS - NIGHT<br /><br /> Belloq, SHLIEMANN the ranking Nazi, and Shliemann's Aide, <br /> GOBLER, come into the tent, which is full of charts and maps, <br /> drawings of the Ark, radio equipment, liquor and food. The <br /> men have been out digging for the Well all day. They are <br /> tired, discouraged, testy. In all matters, Gobler shows his <br /> alliance with Shliemann against Belloq with small looks and <br /> body language. The Frenchman has disappointed them and he is <br /> feeling the isolation of a scapegoat. Belloq gets himself a <br /> drink as Shliemann towels off his face.<br /><br /> BELLOQ<br /> I cautioned you about being premature <br /> with that communiqué to Berlin. <br /> Archeology is not an exact science. <br /> If does not adhere to time schedules.<br /><br /> SHLIEMANN<br /> The Fuhrer is not a patient man. He <br /> demands constant reports and he <br /> expects progress. You led me to <br /> believe -<br /><br /> BELLOQ<br /> Nothing. I have made no promises. I <br /> said only that it looked very <br /> favorable. Perhaps the Ark will still <br /> be found in an adjoining chamber. <br /> Based on the information in our <br /> possession, my calculations were <br /> correct. Perhaps some bit of evidence <br /> still eludes us. Perhaps<br /><br /> GOBLER<br /> Perhaps the girl can help us.<br /><br /> Belloq shoots him an angry look.<br /><br /> SHLIEMANN<br /> My feeling exactly. She was in <br /> possession of the original piece for <br /> years. She may know much.<br /> (really evil)<br /> If properly motivated...<br /><br /> BELLOQ<br /> I tell you, she knows nothing useful.<br /><br /> SHLIEMANN<br /> I'm surprised to find you squeamish. <br /> That is not your reputation. But it <br /> needn't concern you. I have the <br /> perfect man for this kind of work.<br /><br /> Shliemann signals Gobler, who steps outside the tent a moment, <br /> calls someone and then reappears. Belloq looks warily at the <br /> entrance. After a moment Belzig enters, reeking villainy. <br /> When his eyes find Shliemann, his superior, he snaps a crisp <br /> "Heil, Hitler!" at him, holding his palm rigid a long time, <br /> exposing a burned scar in the prefect shape of the sun <br /> medallion.<br /><br /> EXT. INDY'S DIG - NIGHT<br /><br /> In the eerie conjunction of moonlight and torchlight, Indy <br /> and the other men step back in awe of their discovery: there, <br /> flush with the bottom of their pit, is a heavy stone entry <br /> door to an underground chamber. Special prying tools are <br /> produced. With two men assigned to each of the two long tools, <br /> they work in unison to open the vault. They open it a foot <br /> and the other men rush in to flop the heavy door completely <br /> open. Down inside, only blackness.<br /><br /> The men quickly prostrate themselves around the edge of the <br /> entry to look inside. Indy and Sallah each take a torch and <br /> hold them down the hole.<br /><br /> WHAT THEY SEE<br /><br /> The Well of the Souls is a spooky chamber thirty feet deep. <br /> The walls are covered with hieroglyphics and carvings. The <br /> roof is supported intermittently by stone pillars, the closest <br /> of which hits the roof very near the entry hole. The Well is <br /> quite large; as Indy and Sallah wave their torches, more and <br /> more of the room is revealed. Now the far end of the chamber <br /> comes into view. There is a stone altar down there and on <br /> this elaborated carved platform is a stone chest, big enough <br /> to enclose the Lost Ark and protect it from the ravages of <br /> time. This altar appears to be the only place on the floor <br /> of the Well that is not covered by a strange, dark carpet of <br /> some kind.<br /><br /> INDY<br /> The Ark must be in that stone case. <br /> What's that gray stuff all over the <br /> floor -<br /><br /> He breaks off realizing exactly what that carpet is. He <br /> blanches. Indiana Jones blanches.<br /><br /> Indy drops his torch to the floor of the Well. This is <br /> answered by the most horrific HISSING imaginable.<br /><br /> WHAT HE SEES<br /><br /> That think dark carpet is moving. It's alive. It's thousands <br /> and thousands of deadly poisonous snakes - Egyptian asps. <br /> And the only thing that seems capable of avoiding this <br /> venomous groundcover is the altar. The snakes ebb and flow <br /> near it, but never encroach on it, as though repelled by <br /> some invisible force.<br /><br /> Indy shakes his head and talks to himself.<br /><br /> INDY<br /> Why snakes? Why did it have to be <br /> snakes? Anything else.<br /><br /> After a moment of this, he stops. He gathers his energy and <br /> resolve and gets back to the task.<br /><br /> SALLAH<br /> Asps. Very dangerous.<br /><br /> Where Indy's torch had landed is a circle of snake-free floor. <br /> The snakes hate the flame; they stay away.<br /><br /> INDY<br /> Lots of torches. And oil. I want a <br /> landing strip down there.<br /><br /> INT. THE WELL OF THE SOULS<br /><br /> Fifteen torches have been dropped to the floor of the chamber, <br /> combining to make a good-sized clear zone. Smoke begins to <br /> fill the room. Several canisters of oil have been lowered <br /> into this space. Now, a large wooden crate is lowered slowly <br /> by rope. Rope handles are attached to each end of the crate.<br /><br /> Up at the hole, Indy gives Sallah a reassuring pat, takes a <br /> breath, and swings carefully onto a rope hanging from the <br /> hole. Despite his care, he swings a bit and his feet hit the <br /> stone pillar which is so near the entry. Surprisingly, the <br /> pillar actually moves a bit, showering a light rain of <br /> crumbled stone to the floor below.<br /><br /> Indy lands on the floor of the Well. He looks at the altar <br /> over a sea of undulating death. He picks up an oil canister <br /> and splashes two parallel lines of oil and lights them. A <br /> path six feet wide begins to open to the altar. Behind Indy, <br /> Sallah comes quickly down the rope.<br /><br /> We begin to INTERCUT all the action in the Well from here on <br /> with insert shots of the snakes outside the flames. Snakes <br /> and snakes. We see: snakes piled and entwined six inches <br /> deep; mother snakes laying snake eggs; snake eggs hatching <br /> little snakes; snakes cannibalizing other snakes.<br /><br /> INT. MARION'S TENT<br /><br /> Belloq has been talking to the still-bound Marion. He has <br /> removed her gag. He is impatient, angry, uncomfortable. Caught <br /> between two forces.<br /><br /> BELLOQ<br /> Believe me, you made a mistake. If <br /> you would just give me something to <br /> placate them. Some bit of information.<br /><br /> MARION<br /> I swear to you, I know nothing more. <br /> I have no loyalty to Jones. He's <br /> brought me only trouble.<br /><br /> He wants to believe her.<br /><br /> BELLOQ<br /> I cannot control them.<br /><br /> Marion's frightened look shifts suddenly to the entrance of <br /> the tent. There are new arrivals there - Shliemann, Gobler <br /> and Belzig. Belzig carries a black leather case. He steps <br /> forward and smiles at Marion.<br /><br /> BELZIG<br /> We meet again, Fraulein.<br /><br /> EXT. INDY'S DIG - JUST BEFORE DAWN<br /><br /> The sky is just beginning to lighten over the dunes to the <br /> east, making dangerously obvious the thin column of smoke <br /> rising from the entrance to the Well. Omar and his men are <br /> peering through the smoke down into the Well.<br /><br /> INT. THE WELL OF THE SOULS<br /><br /> Indy and Sallah are on the altar. Pushing together with all <br /> their strength, the heavy stone top of the protective chest <br /> begins to slide away. Indy and Sallah exchange slightly wary <br /> but very excited looks, then continue to push. As the Ark <br /> begins to be exposed, the air seems to almost vibrate, to <br /> become electrostatically charged. We hear what sounds like a <br /> low HUM. The sea of snakes around the altar draws back further <br /> from this presence.<br /><br /> As the top of the stone chest is pushed completely off and <br /> slams down beside it, we see THE LOST ARK OF THE COVENANT. <br /> It is awesomely beautiful, breathtaking. 4 feet long, 2.5 <br /> feet wide and 2.5 feet high. It's height, however, is <br /> increased by the two sculptured gold angels mounted facing <br /> each other on the top. Though the body of the Ark is acacia <br /> wood, it has been overlaid with gold. An elaborate gold crown <br /> surrounds the top edge and gold carrying rings are attached <br /> to each corner.<br /><br /> Sallah is mesmerized by the sight. His hand starts to reach <br /> out and touch one of the angels, but Indy grabs it.<br /><br /> INDY<br /> Don't touch it! Never touch it!<br /><br /> The wooden crate stands open next to the stone chest. Now <br /> Indy extracts the wooden poles from its rings and begins <br /> fitting them through the rings in the Ark. This takes some <br /> maneuvering by the two men, but soon they are able to lift <br /> the Ark clear of the stone chest and into the wooden crate. <br /> They extract the poles, fasten the top of the crate and stick <br /> the poles through the rings of the wooden crate. They start <br /> back toward the space under the hole.<br /><br /> The fire strips have begun to dwindle, as have some of the <br /> torches. The snakes move slowly in toward the clear spaces. <br /> Indy and Sallah eye them nervously as they hurry along with <br /> their heavy load. Under the hole, they hurriedly attach ropes <br /> to the wooden crate and it is pulled up. Indy's concentration <br /> is on the tide of snakes.<br /><br /> INDY<br /> Hurry up! Why did it have to be <br /> snakes?<br /><br /> Sallah takes the next rope and climbs quickly out of the <br /> Well. Indy has picked up a torch and now throws it at a pool <br /> of snakes who are too close for his comfort. He turns and <br /> takes hold of the exit rope. He gives it a first tug and it <br /> falls down into the Well, landing partly beyond the ring of <br /> fire where is instantly disappears in a tangle of angry, <br /> hissing asps. Indy looks up at the hole.<br /><br /> INDY<br /> What the -<br /><br /> Smiling down at him from the perimeter of the entry are <br /> Belloq, Shliemann and Gobler.<br /><br /> BELLOQ<br /> Why, Dr. Jones, whatever are you <br /> doing in such a nasty place?<br /><br /> Belloq and the Germans laugh.<br /><br /> INDY<br /> Why don't you fellows come down here? <br /> I'll show you.<br /><br /> BELLOQ<br /> No thank you, my friend.<br /> (he glances around <br /> him)<br /> I think we are all very comfortable <br /> up here.<br /><br /> EXT. INDY'S DIG - DAWN<br /><br /> Sunlight is flooding this tableau: Sallah, Omar and his men <br /> are being held at bay by ten armed Nazis. The wooden crate <br /> sits safely nearby. Belzig and another Nazi have the gagged <br /> Marion held in their rough grasp.<br /><br /> BELLOQ<br /> (down to Indy)<br /> After all these years, it is most <br /> considerate of you to aid me in this <br /> way.<br /><br /> As Belloq speaks, Shliemann exchanges a look with Belzig. <br /> Belzig smiles and takes the gag from Marion's mouth.<br /><br /> INT. WELLS OF THE SOULS<br /><br /> Shliemann smiles down at Indy.<br /><br /> SHLIEMANN<br /> I'm afraid we must be going now, Dr. <br /> Jones. Our prize is awaited in Berlin. <br /> But I do not wish to leave you down <br /> in that awful place...<br /> (he give a sign)<br /> ...all alone.<br /><br /> Belzig and the Nazi move Marion to the hole and, to Belloq's <br /> surprise, push her in. Marion falls thirty feet screaming. <br /> Indy drops his torch, braces, and catches her! Her weight <br /> knocks him to the ground, almost into the snakes. She looks <br /> around at the snakes, clinging to him more desperately as he <br /> struggles to his feet trying to unload her.<br /><br /> MARION<br /> Don't put me down!<br /><br /> Up at the hole, there's plenty of dissension.<br /><br /> BELLOQ<br /> The girl was mine!<br /><br /> SHLIEMANN<br /> She is of no use to us. Only our <br /> mission for the Fuhrer matters.<br /><br /> Shliemann glances meaningfully around at the other Nazis.<br /><br /> SHLIEMANN<br /> I wonder sometimes, Monsieur, if you <br /> have that clearly in mind.<br /><br /> Belloq feels how much he is the outsider, his own <br /> vulnerability. He backs down with the wisdom of survival. He <br /> turns to look down at Indy and Marion. His manner is gallant.<br /><br /> BELLOQ<br /> Goodbye, mademoiselle.<br /> (a pause, then with <br /> respect)<br /> Indiana Jones... adieu!<br /><br /> Belloq and the others step back from the hole and unseen <br /> Nazis slam the heavy stone door into place. Marion screams. <br /> Her scream is accompanied by -<br /><br /> A huge WHOOSH! as air is sucked out and the chamber is sealed. <br /> Half of the torches still burning go out with the sound. The <br /> remaining torches continue to extinguish at punctuating <br /> intervals throughout the following action and the snakes <br /> immediately flood into the newly-darkened spaces. Indy puts <br /> Marion down and snatches up two burning torches. He hands <br /> one to Marion.<br /><br /> INDY<br /> Don't panic. There's plenty of time <br /> for that later. Wave that at anything <br /> that slithers.<br /><br /> Indy holds his torch out like a lantern and begins a slow O-<br /> turn, his eyes peering into the gloom, examining every inch <br /> of wall and ceiling.<br /><br /> MARION<br /> What are you doing?<br /><br /> INDY<br /> Just watch the floor.<br /><br /> Reminded of the encroaching snakes, Marion waves her torch <br /> at the nearest edge of their circle. She looks faint. Indy <br /> continues his slow turn.<br /><br /> MARION<br /> Whatever you're doing, do it faster.<br /><br /> INDY<br /> (he spots something)<br /> There!<br /><br /> His head whips around, looking at the pillars around the <br /> room. He sees what he wants. He grabs one of the oil <br /> canisters, looks back to the spot on the wall he's chosen <br /> and splashes oil on the floor in that direction, then lights <br /> it. A path opens toward that wall.<br /><br /> INDY<br /> Come on!<br /><br /> Marion is frozen in her spot. Indy drags her after him. He <br /> splashes oil the rest of the way to the wall. It lights and <br /> Indy pulls Marion over to the wall. He pours the remaining <br /> oil in a circle around them, creating a safe zone there.<br /><br /> INDY<br /> Stay here!<br /><br /> MARION<br /> (grabbing him)<br /> Where are you going?<br /><br /> INDY<br /> I'll be back in a minute. We're going <br /> through this wall.<br /><br /> Marion looks at the wall, which looks like all the rest to <br /> her. She thinks he's crazy.<br /><br /> INDY<br /> Just keep your eyes open and get <br /> ready to run. No matter what happens <br /> to me.<br /><br /> MARION<br /> (panicked)<br /> What do you mean?<br /><br /> Too late. Indy runs back through the path of flames to the <br /> center of the room. Snakes strike as his flying heels. Indy <br /> reaches the base of the pillar which he touched briefly on <br /> his original descent. He uses his torch to clear away the <br /> scattered snakes climbing on it, then pulls out his whip. He <br /> draws it back, then wraps is solidly around the pillar 15 <br /> feet up. With the torch in his mouth, he begins climbing the <br /> pillar. It moves ominously under his weight.<br /><br /> The last two torches still burning on the floor go out. Now <br /> the only light in the chamber is provided by the torches <br /> held by Indy and Marion and the dwindling oil flames. Snakes <br /> move in and surround the base of Indy's pillar. The path <br /> between Marion and the center of the room is overrun. The <br /> circle of flame around Marion is dying down. She looks beyond <br /> it with terror-widened eyes, then up through the increasing <br /> smoke at the distant Indy.<br /><br /> Near the top of the pillar, Indy's hands strain along his <br /> taut whip, which he has moves higher. A snake slithers into <br /> view there, inches from Indy's straining face. Indy turns <br /> his head so the torch in his mouth can burn it. The snake <br /> falls from the pillar. Indy's torch is dwindling. Indy works <br /> his body around so that he is on the side of the pillar away <br /> from Marion. The pillar moves, showering dust. Indy looks at <br /> the chamber wall five feet away, takes a breath and swings <br /> his legs up against it. He is now braced between pillar and <br /> wall.<br /><br /> MARION (O.S.)<br /> (screaming)<br /> Where are you?!<br /><br /> Snakes are moving in force up the pillar toward Indy's <br /> dwindling torch. Indy grasps the pillar for dear life, <br /> grimaces with exertion and pushes against the wall with all <br /> he's got. The pillar begins to break loose of the ceiling, <br /> then stops. Indy's eyes are on the torch. It is just a spot <br /> of flame now. Snakes are sliding up toward his hands. Indy <br /> again pushes against the wall and the torch falls out of his <br /> mouth.<br /><br /> The pillar goes! In the dim light, we see it fall like a <br /> tree directly at Marion. Indy rides it down. The top hits <br /> the wall three feet from a cringing Marion and smashes through <br /> to a black chamber beyond. Indy flies off into the darkness. <br /> Gone. Marion clutches her torch at the black hole.<br /><br /> MARION<br /> Indy! Where are you?! Please Lord!<br /><br /> There is a moment that seems an eternity, then Indy appears <br /> like an apparition out of the void.<br /><br /> INDY<br /> Come on!<br /><br /> He grabs her and helps her over the remains of the wall into -<br /><br /> INT. THE CATACOMBS<br /><br /> The winding string of connected chambers is revealed to them <br /> only a few feet at a time as their torch lights the way.<br /><br /> MARION<br /> The snakes... are they here?<br /><br /> INDY<br /> I guess not. I think I'd be dead.<br /><br /> MARION<br /> Do you know where you're going?<br /><br /> INDY<br /> Absolutely.<br /><br /> MARION<br /> Thank god. Where?<br /><br /> INDY<br /> Out.<br /><br /> They round a corner and flush a covey of bats. Marion screams.<br /><br /> INDY<br /> Don't do that. It scares me.<br /><br /> Marion gives him a look. They round a corner and begin a <br /> walk through a maze of chambers that present for their <br /> inspection: moldering mummies and stacked sarcophagi; a room <br /> decorated with a thousand human skulls; a wall crawling with <br /> huge scarabaeid beetles. Marion is quite naturally a nervous <br /> wreck; she jumps when Indy grabs her suddenly and points.<br /><br /> INDY<br /> Look!<br /><br /> WHAT THEY SEE<br /><br /> There, coming through the crack in the corner of the next <br /> chamber, is white blessed sunlight.<br /><br /> EXT. THE TANIS DIGS - NEAR AIRSTRIP - DAY<br /><br /> Indy and Marion peek out into the light from the shadows of <br /> an abandoned excavation. Before them is the improvised <br /> airstrip serving the digs: a crude runway, a tent supply <br /> depot, two fuel tank trucks. Down by the fuel trucks a German <br /> Mechanic is looking skyward. Now Indy and Marion look there <br /> too, drawn by the roaring sound of -<br /><br /> A Flying Wing, which is circling over the digs in preparation <br /> to landing.<br /><br /> Now a new figure approaches the German Mechanic. It is Gobler; <br /> he yells to the mechanic, indicating the plane.<br /><br /> GOBLER<br /> Get is gassed immediately! It has an <br /> important cargo to take out!<br /><br /> In the distance, the Flying Wing lands and rolls toward the <br /> men. Gobler spins and heads back toward the main camp, which <br /> is hidden from view by a rise. Indy and Marion watch him go.<br /><br /> INDY<br /> When the Ark gets loaded, we're <br /> already going to be on that plane.<br /><br /> The Flying Wing rolls up into the space near the fuel trucks. <br /> The German Mechanic puts blue blocks in front of the tires <br /> as the engines continue to roar.<br /><br /> Indy and Marion run in a crouch to a hiding spot closer to <br /> the plane, near the supply tent. Suddenly, a Second German <br /> Mechanic appears behind them. He is as surprised as they <br /> are, but recovers quickly and swings a big monkey wrench at <br /> Indy. Indy grabs the swinging arm and the two men tumble out <br /> into the open, wrestling. Marion remains hidden, moving fast <br /> among the crates.<br /><br /> The first German Mechanic, who is just pulling the fuel hose <br /> from the tank truck to the plane, sees the combatants and <br /> runs to help his countryman. He is almost upon them when <br /> Indy puts the Second German away with a devastating left - <br /> right - left combination. He turns to find the first German <br /> Mechanic flying at him. The roll toward the rear of the Flying <br /> Wing and its lethally spinning reversed propellers.<br /><br /> In the cockpit of the Flying Wing, the Pilot has been fiddling <br /> with his gauges just prior to shutting off his engines. Now <br /> he notices the fight going on outside.<br /><br /> The fistfight between Indy and the German Mechanic has taken <br /> on a new stomach-tightening dimension. The men are fighting <br /> and flailing in and out between the spinning props at the <br /> back of the plane's wings. Each man comes within inches of <br /> becoming instant mincemeat.<br /><br /> The Pilot slides away the top of his cockpit and stands up. <br /> He pulls a Luger from his side and points it, waiting for a <br /> clear shot at Indy. The German Mechanic kicks Indy away from <br /> him and the Pilot aims his pistol. Suddenly, Marion appears <br /> behind the Pilot, standing on the opposite wing, and bashes <br /> him over the head with one of the blue blocks that was holding <br /> the tires. The Pilot drops down into the cockpit, his body <br /> falling on the throttle. The engines roar louder, revving <br /> up. The plane begins to roll, rotating around its one still-<br /> blocked set of tires. Marion grabs onto the cockpit to keep <br /> from slipping into the props. She bends into the cockpit, <br /> trying to pull the Pilot's body off the throttle. No luck. <br /> She grimaces and climbs inside. Her shoulder bumps the top <br /> of the cockpit; it slides tightly shut above her.<br /><br /> Under the moving wing, Indy delivers a knockout rightcross <br /> to the German Mechanic which sends him staggering back toward <br /> a roaring propeller. Indy's grimace registers the man's demise <br /> and a fine mist of blood wafts toward him. Indy spins toward <br /> the sound of crumpling metal and sees -<br /><br /> The other prop of the Flying Wing slice into a tank truck. <br /> The airplane fuel inside floods out onto the pavement, <br /> surrounding the plane. Indy backpedals away from the plane, <br /> his eyes searching the scene for Marion. Suddenly, he is <br /> shocked to see her in the cockpit. He runs toward her, <br /> skidding through the gasoline.<br /><br /> INDY<br /> Get out! Get out!<br /><br /> Marion is struggling with the top of the cockpit. She can't <br /> budge it. She's trapped.<br /><br /> EXT. THE COMMAND TENT - DAY<br /><br /> Three Armed Nazis stand guard around the wooden crate <br /> containing the Ark. It is sitting near the flopped-open <br /> entrance to the Command Tent and there is furious activity <br /> going on here. Belloq, Shliemann, Gobler, Belzig and assorted <br /> Aides are packing up all the papers and personal items in <br /> preparation for a hasty departure.<br /><br /> A large crowd of Arab Diggers is milling about among the <br /> tents. They all want to get a look at the Ark. Sallah is <br /> among them. All at once, there is a earthshaking explosion. <br /> Al eyes turn toward the rise that hides the airstrip. A huge <br /> fireball floats into view over there. Everyone starts running <br /> toward it. Shliemann yells at Belzig and the Armed Nazis.<br /><br /> SHLIEMANN<br /> Stay with the Ark!<br /><br /> EXT. THE RISE ABOVE AIRSTRIP - DAY<br /><br /> Almost all the Arabs and Germans in the digs have congregated <br /> here and are staring at the burning remains of the Flying <br /> Wing. Belloq and Shliemann arrive just as the second fuel <br /> truck blows up. The concussion knocks many of the observers <br /> flat. Belloq, Shliemann and Gobler watch the scene in alarm.<br /><br /> SHLIEMANN<br /> Sabotage!<br /><br /> BELLOQ<br /> We must get the Ark away from this <br /> place immediately!<br /><br /> SHLIEMANN<br /> (to Gobler)<br /> Have it put on the truck. We'll fly <br /> out of Cairo.<br /><br /> Gobler snaps his heels, turns to go.<br /><br /> SHLIEMANN<br /> And Gobler -<br /> (Gobler stops)<br /> I want plenty of protection.<br /><br /> Gobler nods and runs off. Shliemann heads back toward camp. <br /> Belloq hesitates a long moment, studying the burning wreckage <br /> with an odd, suspicious look. Finally, he turns and leaves, <br /> passing a nearby stack of barrels. When he has passed, Sallah <br /> appears from among the barrels. He searches the crowd for <br /> his people and starts a broken field run along some tents to <br /> avoid a group of Germans and is running flat-out when someone <br /> sticks out a leg and sends him flipping. Sallah, dust all <br /> over his face, looks angrily toward the concealed culprit. <br /> At once, a flashing white grin splits his darkened face. <br /> Indy and Marion, splotched with soot and oil, are hiding in <br /> the flap of a tent. Sallah runs into their arms and the three <br /> embrace warmly. When they break -<br /><br /> SALLAH<br /> Holy smoke, my friends! I am so <br /> pleased you are not dead.<br /><br /> MARION<br /> Us too.<br /><br /> SALLAH<br /> (suddenly remembering)<br /> The Ark! They're taking it on a truck <br /> to Cairo.<br /><br /> INDY<br /> Where is it?<br /><br /> Sallah gestures to follow and all three run off stealthily <br /> through the mostly deserted camp.<br /><br /> EXT. AMONG THE TENTS - DAY<br /><br /> Sallah, Indy and Marion run into a hiding spot behind some <br /> water barrels near the Command Tent. They peek out at this <br /> activity -<br /><br /> In the big space near the Command Tent is parked an open <br /> German staff car; inside is a Blond Driver and an Armed Guard. <br /> Directly behind it is a canvas-topped troop truck. At this <br /> moment, Belloq and Shliemann are supervising the careful <br /> placement of the crated Ark in the back of the truck. When <br /> it is securely placed inside, we hear an ominous marching <br /> sound and Nine Armed Nazis appear at a trot from between <br /> some tents and climb into the back of the truck with the <br /> Ark.<br /><br /> Behind the water barrels, Sallah and Marion exchange hapless <br /> looks, But Indy just concentrates on -<br /><br /> The scene by the truck: Belloq and Shliemann are about to <br /> climb into the front staff car when they pause to check out <br /> the final component of the convoy. Rolling into place behind <br /> the truck is another open staff car. But this one is special - <br /> mounted in the back is a big, black machine gun, manned by a <br /> Gunner. At the wheel of the car is Gobler and next to him <br /> sits Belzig.<br /><br /> Sallah and Marion look at Indy. Belloq and Shliemann climb <br /> in the back seat of the front car and the caravan pulls out. <br /> Indy watches it go, thinking hard.<br /><br /> INDY<br /> You two get back to Cairo quick and <br /> get us transportation to England - a <br /> plane, a ship, anything.<br /><br /> MARION<br /> What about you?<br /><br /> INDY<br /> I'm going to get that truck. I'll <br /> meet you at Omar's. Be ready for me.<br /><br /> Sallah nods. Marion looks at him like he's nuts. Indy jumps <br /> up, looks around desperately.<br /><br /> MARION<br /> How are you going to get that truck?<br /><br /> INDY<br /> (still searching)<br /> I don't know. I'm making this up as <br /> I go.<br /><br /> He runs away between two tents.<br /><br /> EXT. AT THE EDGE OF THE DIGS - DAY<br /><br /> From among the tents, Indy suddenly bursts into view, happily <br /> astride a magnificent white Arabian stallion. He gallops off <br /> across the desert.<br /><br /> EXT. THE DESERT (VARIOUS SHOTS) - DAY<br /><br /> Indy cuts cross-country avoiding the road the convoy has <br /> taken. He leaps gullies, climbs dunes, slides down slopes. <br /> Soon the convoy comes into view far below him. He tears along <br /> a parallel ridge, like an Indian shadowing a wagon train.<br /><br /> EXT. DESERT ROAD - DAY<br /><br /> The convoy is entering rougher country. The narrow mountain <br /> road we've seen earlier ascends ahead. To the side of the <br /> road are tall boulders. Suddenly, Indy shoots out from between <br /> two rocks and rides directly for the truck. The Armed Nazis <br /> in the back of the truck can see nothing because the canvas <br /> hides their view. But Gobler, Belzig and the Gunner in the <br /> rear staff car have a brief line on him. Belzig points and <br /> the Gunner fires away and Indy, the bullets kicking up sand <br /> near Indy's horse.<br /><br /> The Armed Guard in the cab of the truck leans out to see <br /> what's happening. Indy has been riding alongside. Now he <br /> stands on the horse and leaps to the cab. In a second, he <br /> has flipped the Armed Guard out of the truck. He slides into <br /> the cab and begins grappling with the Truck Driver. The Truck <br /> Driver tries to hit the brakes, but Indy kicks his foot away <br /> and floors the gas pedal. The truck doubles its speed and <br /> shoots onto the steep mountain road.<br /><br /> EXT. MOUNTAIN ROAD - DAY<br /><br /> The Blond Driver of the front staff car sees the truck move <br /> up on him in the rearview mirror and speeds up. Belloq, <br /> Shliemann and the Armed Guard in the car twist around to <br /> look at the struggle in the truck. The Blond Driver begins <br /> what will be a continuing preview of the twists in the road. <br /> He turns his wheel sharply and takes the lead car around a <br /> bend.<br /><br /> In the cab of the truck, Indy and the Truck Driver stop their <br /> fight temporarily and cooperate in turning the steering wheel. <br /> The truck barely stays on the road.<br /><br /> A full view reveals the incredible geography of this ride. <br /> The convoy in tiny against the spectacular mountainside, the <br /> cliffs drop hundreds of feet.<br /><br /> At the wheel of the rear car, Gobler swerves to stay on the <br /> road and accidentally sideswipes a boulder. The Gunner perched <br /> in the back is flipped head over heels out of the car. Gobler <br /> and Belzig are having trouble seeing the road through all <br /> the dust the convoy is kicking up.<br /><br /> The lead staff car reaches the summit of the road and barely <br /> makes the hairpin turn there, delivering a destructive blow <br /> to the guard rail that has been placed there. The guard rail <br /> is now bent.<br /><br /> In the cab of the truck, Indy and the Truck Driver again <br /> stop trying to choke each other long enough to negotiate the <br /> turn together. The bumper of the truck hits the broken guard <br /> rail and sends it flying off the cliff. The truck, however, <br /> holds the road.<br /><br /> In the rear car, Gobler and Belzig are trying to see through <br /> the thick clouds of dust. Suddenly is clears completely. <br /> Unfortunately for them, this happens because their car has <br /> shot out into space at the hairpin turn. They are flying to <br /> their final reward. Belzig, eyes wide behind his evil <br /> spectacles, screams as he goes.<br /><br /> In the cab of the truck, the Truck Driver is distracted by <br /> the sight of the flying staff car. Indy plasters him and he <br /> tumbles out.<br /><br /> Far, far below, Belzig's staff car explodes on the rocks.<br /><br /> In the back of the truck, a TOUGH SERGEANT takes command of <br /> the situation. He picks out six Armed Nazis and motions for <br /> them to start climbing around the outside of the truck to <br /> the cab. With some trepidation the lucky ones begin that <br /> maneuver. The truck is swerving like crazy.<br /><br /> In the front staff car, the Armed Guard aims his submachine <br /> guns back at Indy, alone now in the truck's cab. Shliemann <br /> knocks the barrel roughly away.<br /><br /> SHLIEMANN<br /> (yelling)<br /> If anything happens to that Ark, <br /> we're all dead men ! The Fuhrer will <br /> see to it!<br /><br /> Indy sees this from the cab and reacts by speeding up, putting <br /> even more pressure on the Blond Driver.<br /><br /> Along the back of the truck, Armed Nazis are edging up toward <br /> the cab, three on each side. They hang on as the truck rounds <br /> a corner and goes into a straightaway that leads through a <br /> short tunnel.<br /><br /> In the cab, Indy has been concentrating on the lead staff <br /> car. Now, just before entering the tunnel, he looks in the <br /> side view mirror and sees the Nazis on his side. A quick <br /> glance to the other mirror reveals the others. As the truck <br /> sweeps into the tunnel, we see Indy just start to turn his <br /> steering wheel - he is going to sideswipe the walls of the <br /> tunnel<br /><br /> At the other end of the tunnel, we hear the roar of the two <br /> engine and two long, screeching, scraping sounds. The lead <br /> staff car shoots out of the tunnel, then the truck, its sides <br /> cleaned of Nazis.<br /><br /> In the rear of the truck, the Tough Sergeant is looking with <br /> distaste back at the tunnel. There remains only him and two <br /> Armed Nazis with the Ark. He sends these two climbing up <br /> over the top of the truck.<br /><br /> In the lead car, the Blond Driver is being pressed hard by <br /> Indy, who now edges up to bump them from the rear. Suddenly <br /> the Armed Guard next to the Driver sees the two Armed Nazis <br /> appear on the top of the truck. Without thinking, he starts <br /> to point them out to Shliemann, then realizes his stupidity.<br /><br /> In the cab, Indy has seen this and is at first mystified. He <br /> checks his sideview mirrors. Then he figures it out and slams <br /> on his brakes. The brakes lock, the wheels burn and the truck <br /> skids to a dusty halt. The two Armed Nazis fly off the truck, <br /> over the cab to the road in front. Indy immediately hits the <br /> gas again. The two Armed Nazis, just aiming their weapons, <br /> get wiped out.<br /><br /> In the rear of the truck, the crated Ark is bouncing all <br /> alone, no one in sight, because -<br /><br /> The Tough Sergeant is on the top of the truck, making his <br /> way steadily forward. This guy clearly knows what he's doing. <br /> A submachine gun is slung across his back.<br /><br /> The truck and the staff car race through a series of S-curves. <br /> In the staff car, Belloq and Shliemann spot the Tough Sergeant <br /> as he reaches the front of the truck's top and begins to <br /> lower his submachine gun barrel toward the cab. Indy is <br /> unaware. Belloq and Shliemann exchange looks. Then Shliemann <br /> yells to the Armed Guard in the front seat.<br /><br /> The Tough Sergeant has a line on Indy. He points his gun. <br /> The Armed Guard blasts away at the truck. The Tough Sergeant <br /> dies in a hail of bullets and flies off.<br /><br /> Indy, who has ducked at the gunfire, is confused. But when <br /> he sees the Armed Guard up front lower his gun, Indy again <br /> floors it and begins bumping the staff car in earnest.<br /><br /> The road is almost down to a level now. In the distance - <br /> Cairo. The road takes a little dogleg just before reaching <br /> level ground again. Just as the staff car is about to make <br /> the turn, Indy smashes them from behind. The staff car flies <br /> off the road and down a twenty foot embankment. Indy takes <br /> the truck speeding down the road and off toward Cairo.<br /><br /> In the staff car, the occupants are bruised but safe. <br /> Shliemann points at the departing truck and yells at the <br /> Blond Driver. The staff car fishtails out of its sandy resting <br /> place and takes off after the truck.<br /><br /> EXT. OUTSKIRTS OF CAIRO (VARIOUS SHOTS) - DAY<br /><br /> Indy has an ever-decreasing lead on the staff car as the <br /> race thunders into the narrow streets. People and animals <br /> leap out of the way; carts and barrels go flying helter <br /> skelter. Indy takes the truck down a street so narrow there <br /> are only inches to spare on each side. Pedestrians jump into <br /> doorways.<br /><br /> EXT. OMAR'S SQUARE - DAY<br /><br /> When the truck clears the narrow street, it is in a small <br /> square. Omar's garage is gaping open on the opposite side. <br /> Indy hits the brakes and the truck skids across the square <br /> and into the garage. The garage door slams shut and tenting <br /> drops from the building to hide the door. Various Arabs, <br /> friends of Omar, rush out with fruit carts and baskets and <br /> set up a mini-bazaar in seconds. Two Arab Boys sweep the <br /> tracks of the truck into oblivion. They throw aside their <br /> brooms just as the staff car appears from the narrow street. <br /> Belloq and Shliemann look around desperately as the Blond <br /> Driver steers the car through the square and out the other <br /> side.<br /><br /> EXT. CAIRO DOCKS - NIGHT<br /><br /> The waterfront is dark and misty. An old tramp steamer, the <br /> BANTU WIND, sits by the pier. Several fierce Black African <br /> Pirates, the crewmembers, are taking on final stores.<br /><br /> A small light illuminates the top of the gangplank. In its <br /> circle, Indy and Marion exchange long, warm embraces with <br /> Sallah. A short distance away the ship's Captain, a handsome, <br /> powerful black named SIMON KATANGA, watches from the rail, <br /> smoking a pipe.<br /><br /> DISSOLVE TO:<br /><br /> EXT. OPEN SEA - THE MEDITERRANEAN - NIGHT<br /><br /> The Bantu Wind is bathed in moonlight as it cuts across even <br /> seas.<br /><br /> INT. INDY'S CABIN - NIGHT<br /><br /> Indy comes in, takes off his hat, jacket, whip and holster. <br /> The door which connects this cabin to the next opens and <br /> Marion appears. She is carrying a half-full glass of liquor, <br /> but what you notice is the long, snow-white, high-necked <br /> nightgown she is wearing. It is very prim. Very innocent. <br /> And very sexy. Marion does a slightly embarrassed model's <br /> turn for Indy.<br /><br /> MARION<br /> I have a feeling I'm not the first <br /> woman to travel with these pirates. <br /> There's a whole wardrobe in there.<br /><br /> INDY<br /> It's lovely.<br /><br /> Indy sits on the cot, takes off his boots. He leans back <br /> against the wall and rubs his eyes. Marion sits on the bed, <br /> leans back against the wall with him and looks down at her <br /> white nightgown. She chuckles.<br /><br /> MARION<br /> I feel like a virgin bride in this.<br /><br /> INDY<br /> That's what you look like.<br /><br /> MARION<br /> (takes a drink)<br /> There are some things you can <br /> recapture in this life, but that <br /> isn't one of them.<br /><br /> INDY<br /> What would you like to recapture?<br /><br /> MARION<br /> (after a long pause)<br /> Nothing. That is the way it is.<br /><br /> He watches her closely as she drains her glass and puts it <br /> down.<br /><br /> INDY<br /> Did I ever say I was sorry I burned <br /> down your tavern?<br /><br /> She turns so their lips are very close.<br /><br /> MARION<br /> No. Then again, I burned up that <br /> plane.<br /><br /> INDY<br /> You saved my life.<br /><br /> MARION<br /> And you saved mine.<br /><br /> INDY<br /> Seems things have worked out kind of <br /> even.<br /><br /> MARION<br /> That's the way I like them.<br /><br /> INDY<br /> Maybe we should consider all past <br /> accounts closed.<br /><br /> Marion thinks about this a long time.<br /><br /> MARION<br /> No. Not yet.<br /><br /> INDY<br /> What else?<br /><br /> She looks into his eyes. A smile jumps from her lips to his. <br /> He kisses her and they sink slowly to the cot.<br /><br /> INT. IN THE HOLD<br /><br /> The ship's rats are agitated. They tremble and chatter at <br /> the edges of the compartment, darting about. Out in the center <br /> of the hold, sitting all by itself, is the crated Ark. HUM-M-<br /> M-M.<br /><br /> INT. INDY'S CABIN - DAY<br /><br /> Marion awakes with a start, alone in the cot. Something's <br /> wrong. The ship is quiet. Indy is strapping on his holster. <br /> He pulls his ship and jacket from a hook.<br /><br /> MARION<br /> What is it?<br /><br /> INDY<br /> The engines have shut down.<br /><br /> MARION<br /> Why?<br /><br /> INDY<br /> I'm going to find out.<br /><br /> EXT. LOWER DECK - DAY<br /><br /> Indy runs toward the bow, then climbs some steps four at a <br /> time. A MESSENGER PIRATE is hurrying to get him, but flies <br /> by him on the steps. By the time the Pirate stops himself, <br /> Indy is gone.<br /><br /> MESSENGER PIRATE<br /> Mister Jones! The Captain he say -<br /><br /> EXT. THE BRIDGE - DAY<br /><br /> Captain Katanga is looking with concern ahead of the ship. <br /> Indy appears behind him.<br /><br /> INDY<br /> What's wrong?<br /><br /> KATANGA<br /> You have most important friends.<br /><br /> Katanga turns quickly, pointing with a sweeping hand. Indy <br /> looks. Arrayed in a rough semicircle around the ship are ten <br /> German Wolf Submarines. All of their deck guns are manned <br /> and trained on the Bantu Wind. Worse, at least five heavily-<br /> armed boarding parties in rafts are closing quickly on the <br /> ship.<br /><br /> INDY<br /> Holy shit.<br /><br /> KATANGA<br /> (fast)<br /> I sent my man for you. You and the <br /> girl must disappear. We have a place <br /> in the hold. Go, my friend!<br /><br /> EXT. UPPER DECK - DAY<br /><br /> Indy tears along the deck. He looks over the rail and sees <br /> two Nazi rafts already next to the ship.<br /><br /> EXT. LOWER DECK - DAY<br /><br /> Indy flies down some stairs and starts to round a corner. <br /> Suddenly he throws himself backwards, out of view. Three <br /> uniformed Nazis are clustered near a cabin door holding the <br /> Messenger Pirate. Now two more come out of the cabin trying <br /> to maintain their grasp on a kicking, yelling Marion. She is <br /> still wearing her white nightgown. More Nazis clamber onto <br /> the deck and head toward Indy, slamming open doors, rousting <br /> Pirates, spouting racial epithets. Indy steps backwards and <br /> fades into the maze of the ship.<br /><br /> EXT. / INT. THE BANTU WINDS (VARIOUS SHOTS) - DAY<br /><br /> The ship is swarming with Nazis. The Black Pirates are herded <br /> forward, subjected to rough physical and verbal abuse by the <br /> Aryan Supermen. The Pirates are clearly under orders not to <br /> resist, but not one of these strong men likes it. They'd <br /> gladly give their lives to rip the throat out of a few Krauts. <br /> In the hold, the door slams open and Nazis pour in; they <br /> smile at the sight of the crated Ark.<br /><br /> EXT. THE BRIDGE - DAY<br /><br /> Captain Katanga watches as his crew is crowded into a circle <br /> of Nazis on the wide deck below him. He is surrounded by <br /> Belloq, Shliemann, and several Nazis, two of whom are holding <br /> Marion. Now the Nazis from the hold appear on the lower deck <br /> carrying the crated Ark by means of the long poles. Belloq's <br /> eyes shine at the sight.<br /><br /> SHLIEMANN<br /> Take it aboard the Wurrfler!<br /><br /> BELLOQ<br /> And be very careful!<br /><br /> The Ark is taken away.<br /><br /> SHLIEMANN<br /> (to a Sergeant below)<br /> What about Jones?<br /><br /> SERGEANT<br /> Not a trace yet, sir!<br /><br /> KATANGA<br /> Jones is dead.<br /><br /> Belloq and Shliemann regard him suspiciously.<br /><br /> KATANGA<br /> We killed him. He was of no use to <br /> us. The girl, however, has certain <br /> value where we are headed. She will <br /> bring a very good price. If that <br /> cargo you have taken was your goal, <br /> then go in peace with it. But leave <br /> us the girl. It will reduce our loss <br /> on this trip.<br /><br /> SHLIEMANN<br /> Savage. You are not in a position to <br /> ask for anything. We will take what <br /> we wish and then decide whether or <br /> not to blow your ship from the water.<br /><br /> Belloq steps forward and puts a proprietary hand on Marion's <br /> arm, fixing Shliemann with a steady look.<br /><br /> BELLOQ<br /> That girl goes with me. It will be <br /> part of my compensation. I'm sure <br /> the Fuhrer would approve.<br /><br /> Shliemann considers.<br /><br /> BELLOQ<br /> If she fails to please me, you can <br /> do with her as you wish.<br /><br /> This appeals to Shliemann's nature. He signals his agreement <br /> with a gesture. Belloq ushers Marion away with her two <br /> keepers.<br /><br /> DISSOLVE TO:<br /><br /> EXT. "THE WURRFLER" - CONNING TOWER - DAY<br /><br /> The Nazis have returned to their subs. Shliemann is on the <br /> bridge with the WURRFLER'S CAPTAIN and the Captain's Aides. <br /> The Captain is an honorable career Navy man.<br /><br /> THE WURRFLER'S CAPTAIN<br /> Colonel Shliemann, all torpedoes are <br /> loaded.<br /><br /> Shliemann nods and continues to stare at the Bantu Wind, as <br /> does the Captain. The Pirate crew is all lined across the <br /> bow. Towering above the others, standing on the rail, proud <br /> and defiant, is Katanga. Shliemann looks at the Wurrfler's <br /> Captain a moment.<br /><br /> SHLIEMANN<br /> What do you think, Captain?<br /><br /> THE WURRFLER'S CAPTAIN<br /> (earnestly)<br /> I think not, Colonel. Nothing is to <br /> be gained. We are not at war.<br /><br /> Shliemann mulls this, then turns to the hatch.<br /><br /> SHLIEMANN<br /> ...yet. Let the vermin live. We must <br /> be on our way.<br /><br /> Shliemann disappears down the hatch. The Captain is very <br /> pleased. A Radioman speaks into his headset, then follows <br /> the other Aides down the hatch. In the distance the other <br /> subs begin to move away from the ship. The Captain, alone on <br /> the bridge, looks once more at Katanga.<br /><br /> On the Bantu Wind, Katanga executes what might be taken for <br /> a salute.<br /><br /> The Wurrfler's Captain smiles, salutes crisply, then goes <br /> below, pulling the hatch closed. Immediately, the Wurrfler <br /> begins to move. And as it does, we see the rail at the aft <br /> of the main deck. From nowhere, a wet sleeve appears and a <br /> hand grabs the rail!<br /><br /> Indy pulls his dripping body onto the sub's main deck. He <br /> has lost his felt hat once and for all. Other than that, his <br /> outfit is the same as always, just wetter. Suddenly, water <br /> is washing over his feet; the Wurrfler is beginning to <br /> submerge. Indy runs through quickly deepening water toward <br /> the haven of the conning tower. Halfway there, he slips and <br /> goes down. Only by grabbing the base of the aftmast light <br /> does he keep from being swept away. He struggles to his feet <br /> and sloshes through knee-deep water to the base of the conning <br /> tower.<br /><br /> Indy climbs the ladder to the bridge of the conning tower <br /> and looks down. The water is rising toward his fast. Indy <br /> climbs the ladder to the top of the turret and braces himself <br /> between the two uprights there - the 7 foot radio mast and <br /> the 20 foot periscope. Still the ocean comes up to meet him. <br /> Soon the top of the turret is under water and the radio mast <br /> is disappearing. Indy shifts his grip to the periscope, <br /> working his way up it and hanging on for dear life as the <br /> ocean whips at his body. The periscope is quickly going under. <br /> Indy hangs on to the top three feet, all that remains above.<br /><br /> The forward movement of the sub continues, but, to Indy's <br /> slowly dawning delight, the dive stops. No more of the <br /> periscope goes under. Indy smiles; it's a pretty good smile, <br /> too, given the circumstances. Indy pulls out his bullwhip <br /> and begins tying himself to the periscope.<br /><br /> EXT. THE PERISCOPE - AFTERNOON<br /><br /> The sun warms that part of his body Indy has contrived to <br /> keep out of the water. The rest floats out behind. Indy isn't <br /> comfortable, but all in all, it's not as terrible as he might <br /> have feared.<br /><br /> DISSOLVE TO:<br /><br /> EXT. THE PERISCOPE - DUSK<br /><br /> It's as terrible as Indy might have feared. He looks wasted. <br /> Waterlogged and exhausted. The wet leather of the whip is <br /> contracting and he must struggle constantly to keep it from <br /> cutting into his skin.<br /><br /> DISSOLVE TO:<br /><br /> EXT. THE OCEAN - NIGHT<br /><br /> Several shark fins cut the surface, appearing and disappearing <br /> in the bright moonlight. They are shadowing -<br /><br /> EXT. THE PERISCOPE - NIGHT<br /><br /> Indy looks through barely open eyes at the sharks running <br /> alongside. There is nothing to be done. His eyes close.<br /><br /> FADE OUT:<br /><br /> FADE IN:<br /><br /> EXT. THE PERISCOPE - NIGHT<br /><br /> The submarine has stopped. The water is calm. The moon is <br /> bright. A gentle swell splashes Indy awake. He blinks, tries <br /> to regain his senses. He makes an inventory of his body. <br /> Surprised to find himself intact, his spirits lift. Some <br /> hidden reserve of energy flows through him. He frees his <br /> aching arms from the wet leather of his whip, leaving only <br /> one loop around his waist to hold him to the sub. He rubs <br /> his hands and stretches. Once again, he has survived. To <br /> fight again. He looks around.<br /><br /> WHAT HE SEES<br /><br /> A lovely island. No sign of man's presence. The sub has <br /> stopped at the mouth of a wide cove completely ringed by <br /> tall white rock cliffs. Suddenly the sub begins to move again. <br /> It is headed directly toward the center of the cliffs. Indy <br /> holds on, mystified, alert. When the cliffs are very close, <br /> the sub begins to dive.<br /><br /> INDY<br /> Damn!<br /><br /> He thinks hard. Inspiration hits just before the water. Indy <br /> flips his leather jacket up over his head and holds the jacket <br /> out in front of him. His head is hidden by the jacket as he <br /> goes under water.<br /><br /> INT. THE UNDERWATER TUNNEL - NIGHT<br /><br /> The sub enters an underwater tunnel that penetrates into the <br /> cliffs. Indy is held to the periscope by his crossed legs <br /> and the whip. His impromptu air bubble is working, but it's <br /> a struggle to maintain it.<br /><br /> The sub begins to cut through think marine vegetation. Each <br /> dangling growth pulls at Indy's body and slaps at his leather <br /> bubble. Now a clump of entwined seaweed rips the leather out <br /> of his hands and his bubble of air rises away. Indy hangs <br /> on, holding his breath, but the vegetation gets denser. <br /> Finally, it pulls him off the periscope. The sub moves on, <br /> disappearing ahead.<br /><br /> Indy rises desperately through the dark water, his hand <br /> outstretched. Then, almost simultaneously, hand and head hit <br /> solid rock. But no air. Indy feels along the ceiling of rock. <br /> Nothing. It's all submerged.<br /><br /> Indy dives, stroking deep into the tunnel. When he has <br /> descended 15 feet, he grabs a vine and steadies himself. His <br /> eyes search the dim roof of the tunnel. He sees his last <br /> hope in the distance - a small blue circle, an air pocket. <br /> He swims for it.<br /><br /> In the air pocket, Indy's head breaks the surface and smashes <br /> into rock again. The pocket is only six inches deep. No <br /> matter. Indy loves it. He'd like to move in. He gulps air.<br /><br /> INT. THE SUB BASE - DOCKING BAY<br /><br /> The Wurrfler has arrived at an extraordinary base built in <br /> the hollow interior of the island. This chamber, with the <br /> docking bay, is almost all water. A huge natural cavern, it <br /> has been reinforced and enlarged by the Germans.<br /><br /> The Wurrfler sits surfaced at the dock. The Ark has been <br /> unloaded and placed on a cart. Shliemann, Belloq and Marion <br /> have just disembarked and been met by a Nazi contingent from <br /> the base. Marion looks worse for the trip. Her white nightgown <br /> is now ripped and smudged.<br /><br /> One of the greeting Nazis, a TALL CAPTAIN, salutes Shliemann <br /> and Belloq. As he speaks to them, we notice that right behind <br /> this group, just above a great deal of sub unloading activity, <br /> Indy's whip hangs from the periscope. Working Nazis pass <br /> within feet of it unaware; the Tall Captain would see it in <br /> a moment if he were not so focused on the new arrivals.<br /><br /> TALL CAPTAIN<br /> (to Belloq)<br /> The tents have been arranged in <br /> accordance with your radioed <br /> instructions, sir.<br /><br /> BELLOQ<br /> Good. We must take the Ark there <br /> now.<br /><br /> Shliemann looks a little unhappy about this exchange, but <br /> says nothing. The group moves swiftly toward the end of a <br /> mine train arrangement. The train, consisting of small, <br /> separate, electric-powered cars, sits on a track which <br /> disappears into a tunnel cut in the rock.<br /><br /> On the turret of the Wurrfler, the Wurrfler's Captain lights <br /> a cigarette as he watches the mine train disappear, then <br /> returns his attention to the activity on the dock. He leans <br /> idly against the periscope, his head two feet below Indy's <br /> dangling whip. Something catches his eye, he yells an order <br /> and climbs down from the turret to deal with the matter. We <br /> hold on the whip for a long moment, until its owner's hand <br /> appears and quickly reclaims it.<br /><br /> INT. TRAIN TUNNEL<br /><br /> The Ark and its entourage are moving slowly up the tight <br /> dark tunnel, their way lit by intermittent lanterns. The <br /> tunnel is irregular, but generally about 7 feet wide. It's <br /> height varies from an average of about 7 feet to a low of <br /> only about 4.5 feet at the points (every 40 feet) where <br /> support beams cross the track. The result is that there is <br /> only about a foot of clearance above the mine cars at those <br /> points; passengers must duck to keep from being hit in the <br /> head. Shliemann, looking worried, and Belloq, very excited, <br /> are focused on the Ark in the car ahead.<br /><br /> SHLIEMANN<br /> I am uncomfortable with the thought <br /> of this -<br /> (spitting it out)<br /> Jewish ritual. Are you sure it's <br /> necessary?<br /><br /> BELLOQ<br /> (playing him)<br /> Let me ask you this - Would you be <br /> more comfortable opening the Ark in <br /> Berlin - for the Fuhrer - and finding <br /> out only then if the sacred pieces <br /> of the Covenant are inside? Knowing, <br /> only then, whether you have <br /> accomplished your mission and obtained <br /> the one, true Ark?<br /><br /> Shliemann doesn't like any of his alternatives. He looks at <br /> Belloq with some suspicion as the train comes into bright <br /> light.<br /><br /> INT. COMMAND CENTER<br /><br /> A second natural cavern, even bigger than the first, has <br /> been worked over by the Germans into a rectangular, three-<br /> story high supply center around a huge, open, center court. <br /> Uniformed Nazi Soldiers are everywhere, wrangling supplies <br /> and ammunition, monitoring electronic equipment. At the far <br /> end of the court, a second train tunnel disappears into the <br /> rock.<br /><br /> Across the open court, Belloq sees his destination: a large, <br /> brilliant white silk tent has been erected in the midst of <br /> all this hardware. It looks incongruous, and more than a <br /> little eerie. It is the Tabernacle.<br /><br /> INT. TRAIN TUNNEL<br /><br /> Indy is making his way up the tunnel. He hears cars coming <br /> from up ahead and steps into the shadows. A mine car passes <br /> with several laughing Nazis. Indy continues on his way.<br /><br /> INT. THE TABERNACLE<br /><br /> The light in here is lovely, unearthly. Oil lamps burn. The <br /> Tabernacle is really several concentric, silk tents, which <br /> creates a flowing maze effect. The innermost tent has at its <br /> center a 3-foot high, tapestry-covered altar. Belloq watches <br /> with gleaming, obsessed eyes as two Nazis carefully lift the <br /> actual Ark out of its crate by means of the long poles. The <br /> Ark dazzles the eye, seeming to glow gold in this strange <br /> light. The two Nazis place it carefully on the altar. <br /> Shliemann and some Aides hang back. Marion is nowhere to be <br /> seen.<br /><br /> INT. COMMAND CENTER - END OF TUNNEL<br /><br /> Indy makes a fast break from the shadows of the tunnel to <br /> the protection of a high stack of supplies. He climbs the <br /> back of the stack, peeks over and surveys the area.<br /><br /> WHAT HE SEES<br /><br /> In addition to the Tabernacle, the second train tunnel <br /> entrance, and all the activity, Indy's glance rests <br /> momentarily on a large, heavy metal door halfway down one <br /> wall toward the Tabernacle. It bears the words, in German: <br /> "DANGER - MUNITIONS"<br /><br /> Indy continues to scan the scene.<br /><br /> INT. THE TABERNACLE<br /><br /> In the central area with the Ark, Shliemann and the other <br /> Nazis wait impatiently, eyeing the Ark with some discomfort. <br /> Belloq is not visible, because at the moment he is -<br /><br /> In the folds of the Tabernacle, the silk of the tents <br /> undulating around him. The light is even stranger, the scene <br /> almost dreamlike. With the help of the Tall Captain, Belloq <br /> lets an extraordinary, gold-embroidered, ceremonial robe <br /> fall over his head and onto his body. Belloq looks <br /> transported, possessed. The Tall Captain unlatches a wooden <br /> case and takes from it a sturdy ivory rod about 5 feet long, <br /> elaborately engraved. Belloq takes it from him, turns and <br /> slips back through the silk. The Tall Captain stays in the <br /> folds.<br /><br /> Back in the central area, Shliemann and the other Nazis are <br /> taken aback by Belloq's appearance in the robe. They exchange <br /> looks. From one knot of men there is muttering about "Juden" <br /> and such, but when Belloq turns a fiery gaze on them there <br /> is immediate silence. Shliemann looks uncertain in this <br /> presence.<br /><br /> Belloq approaches the Ark. He stops a few feet from it and <br /> begins murmuring an invocation in Hebrew. After a few moments <br /> of this he advances a step and is about to place the ivory <br /> rod in a notch under the lid of the Ark itself. The end of <br /> the rod is an inch from the notch when -<br /><br /> Indy steps into the Tabernacle. On his shoulder is a bazooka <br /> and it is aimed directly at the Ark.<br /><br /> INDY<br /> Hold it.<br /> (the Nazi react)<br /> One move from anybody and I blow <br /> that box back to Moses.<br /><br /> Shliemann makes it clear to the other Nazis that Indy is to <br /> be obeyed.<br /><br /> BELLOQ<br /> Jones, your persistence surprises <br /> even me. You are going to give <br /> mercenaries a bad name.<br /><br /> INDY<br /> What about you? Talked to God yet?<br /> (Belloq's eyes flash)<br /> Where's the girl?<br /><br /> SHLIEMANN<br /> Doctor Jones, surely you don't think <br /> you can escape from this base.<br /><br /> INDY<br /> That depends on how reasonable we're <br /> all willing to be. All I want is the <br /> girl. We'll keep possession of the <br /> Ark only till we've got safe transport <br /> to England. Then it's all yours.<br /><br /> SHLIEMANN<br /> If we refuse?<br /><br /> INDY<br /> Then the Ark and some of us are going <br /> up in a big bang. I don't think Hitler <br /> would like that a bit. Now I don't <br /> want to talk about this anymore. <br /> Show me that girl in five seconds or -<br /><br /> The Tall Captain flies out of the silk and takes Indy down <br /> by the neck. The bazooka clatters across the cement floor as <br /> two other Nazis help subdue Indy. The three Nazis take Indy's <br /> pistol from his holster and raise him roughly in their grasp.<br /><br /> SHLIEMANN<br /> Jones, this is the second time I <br /> have seen you looking very foolish.<br /><br /> INDY<br /> It's a bad habit. I'm trying to break <br /> it.<br /><br /> Shliemann draws his Luger.<br /><br /> SHLIEMANN<br /> I'll help you. This time I'll kill <br /> you myself.<br /><br /> Shliemann raises the pistol.<br /><br /> BELLOQ<br /> No! Not in the presence of the Ark! <br /> Take him outside.<br /><br /> Shliemann eyes Belloq, then the Ark. He lowers the pistol, <br /> motions for the Nazis to take Indy out ahead of him. They <br /> stop a moment only when Belloq speaks.<br /><br /> BELLOQ<br /> Indiana Jones, I salute you. I am <br /> even a little sorry you will miss <br /> this moment.<br /><br /> INDY<br /> Thanks. If you talk to Him, tell Him <br /> I'm on my way up.<br /><br /> Shliemann motions them out and follows. Belloq turns back to <br /> the Ark, raising the ivory rod.<br /><br /> INT. COMMAND CENTER<br /><br /> Shliemann, the Tall Captain, Indy and the two Nazis holding <br /> him emerge from the Tabernacle. Shliemann points to a nearby <br /> wall and the group starts that way with Shliemann and the <br /> Tall Captain slightly ahead.<br /><br /> INT. THE TABERNACLE<br /><br /> Belloq has the ivory rod inserted in the notch under the lid <br /> of the Ark. He utters a short phrase in Hebrew and begins to <br /> press down on his end of the rod. The lid of the Ark begins <br /> to lift. It's difficult work. Belloq puts his whole weight <br /> into one big press on his end and the lid opens two feet.<br /><br /> Inside the Ark of the Covenant is a preview of the end of <br /> the world. A light so bright, a power so fearsome, a charge <br /> so jolting, that there is nothing in our world to compare to <br /> it. It's as though this magnificent golden box has been <br /> gathering electric energy for three thousand years, waiting <br /> for just this crack of the lid to release it all in one fast, <br /> cleansing explosion of pure force.<br /><br /> Blinding arcs of light shoot out across the Tabernacle <br /> instantly killing all the Nazis inside and turning the white <br /> silk to flame. But it is Belloq in his obsession who takes <br /> the full blast. His whole body seems lit by a million volt <br /> current and, for a moment, his complete form is white, then <br /> blue, then maybe green, but it is hard to tell because our <br /> eyes are blinded now too. Two aspects of this ghastly, <br /> beautiful display are somehow communicated in the chaos, <br /> although the communication is subliminal. First, that Belloq, <br /> in the instant of his destruction, has experienced some kind <br /> of sublime, transcendental knowledge. If a death's-head can <br /> smile and look satisfied, that is how Belloq's incandescent <br /> face would be described. Secondly, this event is accompanied <br /> by a sound like no other. A sound so intense and so odd and <br /> so haunting that the suggestible among us might imagine it <br /> were the whisper of God.<br /><br /> INT. COMMAND CENTER<br /><br /> Chaos. Shliemann and the Tall Captain have been temporarily <br /> blinded by the light from the Tabernacle. Indy makes short <br /> work of his two escorts. He bashes their heads together. <br /> When only one goes down at this, Indy uses the handle of his <br /> bullwhip, which has appeared instantly in his hand, to put <br /> the second one down.<br /><br /> Shliemann, hand on his eyes, aims his Luger blindly at the <br /> scuffle. Indy pushes the Tall Captain at Shliemann, who fires <br /> on impact, killing the Tall Captain. Indy knocks out <br /> Shliemann.<br /><br /> Behind Indy, the brilliant light and weird noise of the Ark <br /> have suddenly ceased, but the Tabernacle is ablaze and the <br /> fire has quickly spread to stacks of supplies on either side. <br /> Smoke is already starting to fill the cavern. Nazis are <br /> running around, yelling for firefighting water. A burning <br /> crate at the side of the Tabernacle is pushed over, only to <br /> knock over a drum of heavy black oil. A river of flame shoots <br /> across the cement.<br /><br /> Indy grabs a rifle with bayonet from the prostrate body of <br /> one of his former escorts and runs back into the flaming <br /> Tabernacle.<br /><br /> INT. THE TABERNACLE<br /><br /> Indy jumps through the flames into what is now a tent of <br /> fire. He looks around at the dead bodies, then at the Ark. <br /> The lid has slammed down shut again and the Ark shines gold <br /> in the flames. Before it, where Belloq once stood, is a pile <br /> of ash and charred debris. Indy registers this, then continues <br /> to scan the scene.<br /><br /> INDY<br /> Marion! Marion, can you hear me?<br /><br /> Suddenly, Indy looks as -<br /><br /> The far side of the Tabernacle burns completely away, <br /> revealing Marion, tied spread-eagle between two upright posts. <br /> Her nightgown is now in tatters, black with soot. She is <br /> gagged, but her eyes are screaming, focused on the flaming <br /> river of black oil which is about to engulf her feet.<br /><br /> Indy rushes toward her, unaware of a uniformed Nazi who has <br /> appeared from the flames. Marion looks up to see Indy and <br /> the Nazi leveling his submachine gun at Indy. She motions <br /> desperately with her eyes. Indy dives and rolls through the <br /> flames just as the Nazi opens fire. From the floor, Indy <br /> blasts the Nazi.<br /><br /> The river of burning oil is only a foot from Marion.<br /><br /> Indy jumps up and runs toward the bound Marion, his bayonet <br /> aimed directly at her. Her wide eyes flash between the flames <br /> and the shining blade. Expertly, Indy slashes down both sides <br /> at Marion, cutting all four bindings. Marion falls backwards, <br /> away from the flames, but before she hits the ground, Indy <br /> is there, catching her in his arms.<br /><br /> They embrace. They kiss. They break.<br /><br /> INDY<br /> Hi.<br /><br /> MARION<br /> Oh, Indy! Thank god you're here.<br /><br /> INDY<br /> Glad I could make it.<br /><br /> Indy rises, pulling her up with him. The Tabernacle is burning <br /> away so fast that soon Indy and Marion will be completely <br /> exposed. Indy rushes over and grabs the submachine gun and a <br /> Luger from the dead Nazi.<br /><br /> INDY<br /> Let's get out of here.<br /><br /> MARION<br /> What about the Ark?<br /><br /> Indy stops, startled by her spunky attitude. He's considering <br /> their changes.<br /><br /> INDY<br /> Are you game?<br /><br /> MARION<br /> Hell yes! We've made it this far.<br /><br /> INDY<br /> (grins at her)<br /> Okay. Let's do it.<br /><br /> They approach the altar through the dying flames, Indy <br /> slinging the submachine gun over his back. The long carrying <br /> poles are still in place.<br /><br /> INDY<br /> Whatever you do, don't touch it. <br /> Let's put it on the floor.<br /><br /> Marion nods. Each taking an end with the poles, they lift <br /> the Ark from the altar and lower it to the floor. Marion <br /> grunts under the weight. Indy registers this, hands her the <br /> submachine gun. He pulls out his whip, motions her back, and <br /> sweeps the whip tightly around the body of the Ark. The whip <br /> wraps snugly around the plaiting and Indy ties it off. The <br /> Ark is now harnessed to the whip handle. Indy gives it an <br /> experimental pull and the Ark slides across the smooth cement. <br /> Indy indicates the direction of the second train tunnel.<br /><br /> INDY<br /> We'll go down that side. Shoot anyone <br /> who looks at us crosseyed.<br /><br /> INT. COMMAND CENTER<br /><br /> Two huge stacks of goods are ablaze and the Nazis are having <br /> trouble getting water to them. The Nazis main concern at <br /> this point is an enormous, neat stack of wooden cartridge <br /> boxes which are piled down the wall from one of the already <br /> blazing, and now teetering, stacks of general goods. Nervous <br /> Nazis are moving the heavy cartridge boxes as fast as they <br /> can, but it's slow work and the threatening fire is close.<br /><br /> Indy and Marion make their way along the side of the center <br /> court, Indy grimacing with the strain of pulling the Ark. <br /> One Nazi stops directly in front of them, looking at them <br /> queerly. Indy knocks him out with the butt of his Luger just <br /> as Marion is about to fire.<br /><br /> Out in the court, Shliemann has regained his eyesight. Now <br /> he crouches, scanning the scene desperately for Indy. He <br /> looks into the remains of the Tabernacle and spots the empty <br /> altar. Beyond it, the unoccupied posts where Marion was bound.<br /><br /> At the entrance to the second train tunnel, Indy and Marion <br /> struggle to lift the Ark into a mine car. Marion has the <br /> submachine gun slung over her back. The Ark drops heavily <br /> into the bottom of the car. The noise attracts the attention <br /> of five water-carrying Nazis. They see what's going on and <br /> reach for their side-arms. Indy grabs Marion, pulls her in <br /> front of him - as though to use her as a shield - and flips <br /> the submachine gun, still on her back, toward the Nazis.<br /><br /> He opens fire, turning Marion's body so he can mow all five <br /> down.<br /><br /> Shliemann spins around and looks at the tunnel entrance. He <br /> points at Indy and Marion, who have just hopped into the <br /> mine car with the Ark.<br /><br /> SHLIEMANN<br /> Stop them! Kill them!<br /><br /> A dozen Nazis spin and look at the mine car. Marion is just <br /> leveling the submachine gun. Indy pushes forward the throttle <br /> and the mine car moves toward the tunnel, picking up speed. <br /> As the Nazis raise their guns to fire, Marion and Indy both <br /> open up, peppering the area with lead. As the mine car is <br /> about to disappear into the tunnel -<br /><br /> INDY<br /> (to Marion)<br /> Get down!<br /><br /> As the car disappears, bullets pock the entrance of the <br /> tunnel. Shliemann runs up with three Nazis. They jump into <br /> the next mine car and take off, disappearing into the tunnel.<br /><br /> Over at the burning stack of goods, some terrified fire-<br /> fighters scurry away as the burning pile of general goods <br /> falls over onto the stack of cartridge boxes. The wooden <br /> boxes immediately start burning. Many of the Nazis just want <br /> to get out of there, but a couple of disciplined OFFICERS <br /> are trying to salvage the situation. They point to the far <br /> side of the court, the walls are lines with oil and gas drums.<br /><br /> OFFICER<br /> We must cover the drums! Protect <br /> them from the bullets!<br /><br /> INTERCUTTING INDY AND MARION WITH SHLIEMANN AND THE NAZIS<br /><br /> We see a most extraordinary pursuit. This tunnel is of <br /> identical design to the first, except more twisty. This early <br /> section goes slightly uphill, as though headed for the summit <br /> of a rollercoaster. The low cross beams and the higher <br /> sections in between are causing the Nazis to alternately <br /> stand and duck in their efforts to get a clear shot at the <br /> lead car. One German times it wrong and gets whacked. Indy <br /> in unhappy with the speed of his car and he's right, the <br /> Nazis are moving faster and gaining. When both cars are in <br /> the same high section, the Nazis blast away at them. The <br /> noise is deafening, with barking guns, splintering rock, and <br /> twanging ricochets contributing to the din. As Marion fires <br /> a return volley low over the Ark, Indy kicks at the throttle, <br /> convinced it is jammed.<br /><br /> INT. COMMAND CENTER<br /><br /> The Officers are directing the placement of every moveable <br /> item in front of the oil drums. Desks, crates, chairs, food, <br /> all are heaped in front of the fuel. All the workers cast <br /> frequent nervous glances back at the burning cartridge boxes <br /> across the court. Suddenly the worst begins to happen at the <br /> cartridge boxes. Hundreds of thousands of live cartridges <br /> begin exploding, flying around the court like shrapnel. Hot <br /> lead begins to zing off the exposed fuel drums, leaving big <br /> dents.<br /><br /> INT. TRAIN TUNNEL - LONG STRAIGHTAWAY<br /><br /> The car with Indy and Marion looks almost sluggish compared <br /> to the pursuing Nazi car as they both make their way into an <br /> usually long straightaway. Marion discards her empty <br /> submachine gun as Indy kicks at his throttle and casts a <br /> worried look back at Shliemann.<br /><br /> Shliemann, sensing victory, smiles evilly and carefully takes <br /> aim. Indy and Marion will be easy targets until they reach <br /> that approaching low cross beam, which is the crest of the <br /> rising tunnel.<br /><br /> INT. COMMAND CENTER - CLOSE ON FUEL DRUM<br /><br /> A fuel drum, already pocked by bullets is finally penetrated <br /> by high velocity hot lead. It explodes in a ball of flame. <br /> And then its neighbor. Then all is exploding flame.<br /><br /> INT. TRAIN TUNNEL - LONG STRAIGHTAWAY<br /><br /> Shliemann and his cohorts hear the explosions behind them <br /> and look back that way.<br /><br /> Indy kicks the throttle one more time and it goes! Their car <br /> doubles its speed and shoots under the low cross beam at the <br /> same instant as -<br /><br /> A huge dragon of all-consuming fire shoots up the tunnel <br /> behind the Nazis, catches their car and incinerates Shliemann <br /> and his men. The tunnel collapses in this section, burying <br /> the fried Nazis forever.<br /><br /> INT. TRAIN TUNNEL<br /><br /> Indy and Marion look back at the low cross beam as the last <br /> tongue of flame makes it there and then is doused by falling <br /> rock and dirt. They look at each other, then turn their <br /> attention back to their own predicament. Their mine car is <br /> going incredible fast as it moves into a downward section of <br /> wildly twisting tunnel.<br /><br /> MARION<br /> Slow it down!<br /><br /> Indy is already pulling the throttle. It moves easily. <br /> Unfortunately, it is no longer attached to the motor. The <br /> mine car is out of control. After several moments, far ahead, <br /> appears a circle of bright daylight - the end of the tunnel! <br /> It approaches at a frightening rate. Indy reaches out and <br /> grasps Marion's hand. They exchange looks and then turn to <br /> look ahead.<br /><br /> THEIR POV<br /><br /> We're taking this last stretch with them. It's a familiar <br /> nightmare. It has to do with a rollercoaster that ends <br /> suddenly and disastrously. The shocking brightness of sunlight <br /> rushes up to engulf us, blinding us in its glare.<br /><br /> EXT. THE ISLAND - END OF TRACKS, DOCK<br /><br /> High up on the slope of the island, Indy and Marion's mine <br /> car shoots out of the black tunnel and roars down toward a <br /> little dock at the end of the tracks.<br /><br /> A small Nazi transport launch, carefully disguised as a Greek <br /> fishing boat, sits bobbing by the dock. The only human: a <br /> Nazi Sentry dressed as a Greek peasant. He is perched on a <br /> pile of seed bags which are stacked at the very end of the <br /> train tracks. As the mine car barrels noisily down toward <br /> him, he throws away some burlap to reveal a mounted machine <br /> gun which he spins quickly around toward the approaching <br /> mine car. He opens fire.<br /><br /> In the out-of-control mine car, Indy pulls Marion down with <br /> him. They are squashed into the corner trying to avoid contact <br /> with the bouncing Ark. Bullets clang against the outside of <br /> the car and whiz inches overhead. Indy and Marion are forced <br /> into a tighter and tighter embrace of life.<br /><br /> At the machine gun post, the Nazi Sentry has been firing <br /> like crazy, but now there is terror in his eyes. He realizes <br /> the car is not going to stop. He lacks faith in his <br /> stronghold. Too late.<br /><br /> The mine car smashes into the seed bag bunker. And right on <br /> through. The Nazi Sentry, his machine gun and a dozen bursting <br /> seed bags are slammed into the ocean in a wild, hurtling <br /> mass. The mine car jumps, bounces and spins around, then <br /> slides to a stop in a cloud of seed at the edge of the water.<br /><br /> INT. COMMAND CENTER<br /><br /> Fire. Everywhere. No sign of life. A large gaping doorway, <br /> flames ringing it, blazing into the room beyond. Hanging by <br /> one hinge there, its metal blasted and jagged, is a heavy <br /> door with the signed lettering, in German, "DANGER - <br /> MUNITIONS".<br /><br /> The first explosion happens. It's a baby compared to what's <br /> coming yet it rocks the earth. It's terrible. And then, almost <br /> immediately, another. The long, irregular, ever larger chain <br /> of explosions begins.<br /><br /> EXT. THE ISLAND - VARIOUS SHOTS - DAY<br /><br /> The island rumbles and shakes. From fissures and small natural <br /> caves, dirt and rock shoot out like spraying water. Still <br /> the explosion continue. A huge chunk of white cliff falls <br /> away into the turbulent sea. Birds scream and soar, afraid <br /> to land.<br /><br /> Finally, we settle on a full shot of the island. We can <br /> recognize that the small opening high on the slope from which <br /> a cloud of smoke and dust is billowing is the end of the <br /> mine tunnel. And there below it, quite small from this <br /> distance is the dock. And the boat that looks like a Greek <br /> fishing boat. There can be no mistake even from this far <br /> away - the boat is chugging out to sea.<br /><br /> INT. THE PENTAGON - DAY<br /><br /> Indy, Brody, and Marion, looking very stylish, are seated in <br /> Colonel Musgrove's huge office. Sun pours in a window, through <br /> which Washington can be seen sparkling across the Potomac. <br /> Everything is neat and clean and regular. Including the three <br /> men who are arrayed around the office. Two we know - Col. <br /> Musgrove and Maj. Eaton. The third is an unnamed Bureaucrat. <br /> He hangs back, smiling and genial, his features obscured by <br /> the glare of the window. He doesn't say anything, yet you <br /> have a sense that the others defer to him in the matter at <br /> hand. He is the essence of all that is Byzantine and <br /> inscrutable in our scrubbed government machine.<br /><br /> Indy and Brody are dissatisfied with the way the meeting has <br /> gone. Marion, on the other hand, is very happy and eager to <br /> get out of there. Eaton's manner is irritatingly cheery.<br /><br /> MUSGROVE<br /> You've done your country a great <br /> service.<br /><br /> EATON<br /> And we trust you found the settlement <br /> satisfactory?<br /><br /> MARION<br /> Quite.<br /><br /> EATON<br /> Good, good.<br /> (glances around at <br /> the others)<br /> Then I guess that about does it.<br /><br /> BRODY<br /> When can we have the Ark?<br /><br /> Eaton's glance flicks over to the mysterious Bureaucrat, <br /> then back to Brody.<br /><br /> EATON<br /> I thought we answered that. It's <br /> someplace very safe -<br /><br /> INDY<br /> (heated)<br /> That's a powerful force. Research <br /> should be done -<br /><br /> EATON<br /> Oh, it will be, Dr. Jones, I assure <br /> you. We have top men working on it <br /> right now.<br /><br /> INDY<br /> Who?<br /><br /> EATON<br /> Top men.<br /><br /> Indy exchanges a look with Brody.<br /><br /> INDY<br /> We may be able to help.<br /><br /> EATON<br /> We appreciate that. And we won't <br /> hesitate to call on you.<br /><br /> MUSGROVE<br /> (dismissing them)<br /> Thank you all. Thank you again.<br /><br /> Indy looks them over coldly. He gets up, sullen.<br /><br /> EXT. PENTAGON STEPS - DAY<br /><br /> Indy, Brody and Marion emerge from the building. Brody bids <br /> them farewell and moves off in another direction. Marion <br /> clings to Indy's arm in an energetic, very feminine way, <br /> scolding him.<br /><br /> MARION<br /> Well they aren't going to tell you, <br /> so why don't you just forget it. I'd <br /> think you'd had enough of that damn <br /> Ark. Just put your mind on something <br /> else.<br /><br /> Indy stops, looking across the river, his mind occupied.<br /><br /> INDY<br /> Yeah, like what?<br /><br /> Marion makes a face, then puts her arms around his neck and <br /> plants a humdinger of a kiss on his mouth. It goes on a while. <br /> Finally they break.<br /><br /> INDY<br /> It's not the Ark... but it'll have <br /> to do.<br /><br /> They move down the steps, smiling.<br /><br /> INT. GOVERNMENT WAREHOUSE<br /><br /> The Ark of the Covenant sits in a wooden crate. A wooden lid <br /> comes down and hides it from view. The lid is solidly nailed <br /> to the crate as we read the stenciled message on top -<br /><br /> TOP SECRET<br /> ARMY INTEL. #9906753<br /> DO NOT OPEN!<br /><br /> The hammering is completed and hands shift the heavy crate <br /> onto a dolly.<br /><br /> THE END CREDITS ROLL AS WE SEE -<br /><br /> A Little Old Government Warehouseman begins pushing the crated <br /> Ark down as aisle. Soon we see that the aisle is formed by <br /> huge stacks or crates. They come in many shapes and sizes, <br /> but when it comes right down to it, they all look like the <br /> one that holds the Ark. All have markings like the message <br /> we've just seen. Pretty soon we're far enough and high enough <br /> away from the Little Old Government Warehouseman to see that <br /> this is one of the biggest rooms in the world. And it is <br /> full. Crates and crates. All looking alike. All gathering <br /> dust.<br /><br /> And then we notice that the Little Old Government <br /> Warehouseman, pushing his new crate ahead of him, has turned <br /> into another aisle and disappeared from view.<br /><br /> FADE OUT:<br /><br /> THE ENDEelveEhttp://www.blogger.com/profile/04343357520043384445noreply@blogger.com0