![[Raiders Logo]](../graphics/rlogo.gif)
Screenplay by LAWRENCE KASDAN
Story by GEORGE LUCAS
REVISED THIRD DRAFT
AUGUST 1979
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FADE IN:
EXT. PERU - HIGH JUNGLE - DAY
The dense, lush rain forests of the eastern slopes of
the Andes, the place known as "The Eyebrow of the Jun-
gle". Ragged, jutting canyon walls are half-hidden by
the thick mists.
The MAIN TITLE is followed by this:
PERU
1936
A narrow trail across the green face of the canyon. A
group of men make their way along it. At the head of
the party is an American, INDIANA JONES. He wears a
short leather jacket, a flapped holster, and a brimmed
felt hat with a weird feather stuck in the band. Behind
him come two Spanish Peruvians, SATIPO and BARRANCA.
Bringing up the rear are five Yagua INDIANS. They act
as porters and are wrangling the two heavily-packed
llamas. The Indians become increasingly nervous. They
speak to each other in bursts of Quechua. The American,
who is known to his friends as Indy, glances back at them.
BARRANCA
(irritated)
They're talking about the Curse
again!
He turns and yells at the Indians in Quechua, his anger
giving an indication of his own fears. The party reaches
a break in the canyon wall and takes the trail through it.
When they emerge, their destination is revealed to them
in the distance. Beyond a thick stand of trees is the
vegetation-enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS,
2000 years old.
The entire party is struck by the sight. The Indians,
terrified now, chatter away. Suddenly the three at the
back turn and run, dropping their packs as they go. Bar-
ranca yells at the fleeing Indians and pulls his pistol
out. He starts to raise his arm to aim but Indy restrains
it in a muscular grip.
INDY
No.
Barranca looks evilly at Indy's hand upon him. Indy re-
leases him and smiles in a friendly way.
INDY
We don't need them.
Satipo watches this confrontation with some concern.
BARRANCA
I do not carry supplies.
INDY
We'll leave them. Once we've got
it, we'll be able to reach the plane
by dusk.
He turns back to the trail. Satipo gets the two remaining
Indians moving behind Indy. Satipo and Barranca then have
a fast, silent communication: Barranca indicates his de-
sire to slit Indy's throat; Satipo gives him a look that
says "Be patient, you idiot".
THE APPROACH TO THE TEMPLE
The party fans out to fight their way through the en-
twined trees that guard the temple. Visibility is cut to
five feet in the heavy mist. Satipo extracts a short,
native dart from a tree and examines the point gingerly
SATIPO
(showing Indy)
The Hovitos are near. The poison
is still fresh...three days. They're
following us, I tell you.
INDY
If they knew we were here, they would
have killed us already.
The two Indiana jabber in Quechua, near hysteria. Bar-
ranca is sweating profusely, eyes darting. He yells at
the Indians in Quechua to "shut up".
In the undergrowth, there is slithering movement.
Indian #1 draws aside a branch and is faced with a hor-
rific stone sculpture of a Chachapoyan demon. The Indian
is so frightened no sound comes out when he screams. He
turns and runs silently away.
Indian #2 calls to his friend. Getting no response, he
steps in that direction. A huge macaw, flushed from the
undergrowth, screams and flies away. Indian #2 does ex-
actly the same thing, never to be seen again.
Indy, Satipo and Barranca, just clearing the trees, look
back in that direction. They all turn to face the Temple.
It is dark and awesome. Vegetation curls from every
crevice, over each elaborate frieze. The entrance--
round, open and black--has been designed to look like
open jaws.
INDY
So this is where Forrestal cashed in.
SATIPO
A friend of yours?
INDY
Competitor. He was good, very good.
BARRANCA
(nervous)
No one has ever come out of there alive.
Why should we put our faith in you?
Indy takes the weird feather from the band of his hat.
From around its point, he slips a tightly rolled piece
of parchment. Barranca and Satipo exchange a quick "So
that's where is was!" look. They all kneel as Indy
spreads out the parchment. On it is one-half of a crude
floorplan of the Temple.
INDY
No one ever had what we have...
partners.
Indy fixes them with an expectant stare. Satipo produces
a similar, but folded, piece of parchment. He lays it--
the other half of the floorplan--next to Indy's. They
all regard it for a moment, then Indy stands and walks
toward the Temple. Barranca's eyes are shining as they
dart between the floorplan and Satipo.
INDY
(back turned)
Assuming that pillar there marks
the corner and...
Barranca is suddenly on his feet, quietly drawing his pis-
tol. He raises it toward Indy as Satipo realizes with
alarm what he's doing. Too late. Indy's head turns and
he sees Barranca.
Indy's next move is amazing, graceful and fast, yet
totally unhurried. His right hand slides up under the back
of his leather jacket and emerges grasping the handle of
a neatly curled bullwhip. With the same fluid move that
brings Indy's body around to face the Peruvian, the whip
uncoils to its full ten foot length and flashes out.
The fall of the whip (the unplaited strip at the end of
the lash) wraps itself around Barranca's hand and pistol.
He could not drop the gun now if he tried.
Indy gives the whip a short pull and Barranca's arm in
jerked down, where it involuntarily discharges the gun
into the dirt. Barranca is amazed, but feels some slack
in the whip and immediately raises the gun toward Indy
again, cocking it with his free hand.
Indy's face goes hard. And sad.
Indy sweeps his arm in a wide arc. Barranca spins around,
enclosed in the whip, his gun hand stuck tight against
his body. Indy gives one more short jerk on the whip
handle and Barranca's gun fires. Barranca falls dead.
Indy looks quickly at Satipo, who is shocked and fright-
ened. He raises his arms in supplication.
SATIPO
I knew nothing! He was crazy!
Please!
Indy looks him over, then nods. He frees the whip from
Barranca's body and picks up the man. His eyes sweep
the surrounding woods.
INDY
Let's go.
INT. TEMPLE - INCLINED PASSAGE - DAY
Indy and Satipo, carrying a torch, walk up the slightly
inclined, tubular passage from the main entrance. The
interior is wet and dark, hanging with plant life and
stalactites. Their echoing footsteps intermittently
overpower the sounds of loud dripping, whistling air
drafts and scampering claws.
HALL OF SHADOWS
Indy leads the way down a twisting hallway, Satipo's
torch barely lighting his way from behind. Indy dis-
appears in a shadow and when he reappears a moment later
a huge black tarantula is crawling up the back of his
jacket. Indy doesn't notice and disappears into another
shadow, emerging with two more tarantulas on his back.
Satipo sees them and makes a frightened grunting sound.
Indy looks at him, sees what he's pointing at and cas-
ually brushes all three spiders off with his rolled
whip, as he would a fly. Satipo pirouettes for an in-
spection and Indy flicks one off the Peruvian's back.
Indy begins picking up little pocket-sized artifacts from
the niches and ledges of the Temple. He continues to
do this as the men penetrate the Temple. His collecting
is quick and expert, evaluating the pieces in an instant,
discarding some, stuffing others into his clothes, and
never stopping his forward progress.
CHAMBER OF LIGHT
The men reach an arch in the hall. The small chamber
ahead, which interrupts the hall, is brightly lit by a
shaft of sunlight from high above. Indy stops, looks
it over.
SATIPO
What's wrong? Are you lost?
Indy picks up a stick and throws it through the shaft
of light. Giant spikes spring together from the sides
of the chamber with a ferocious CLANG! And impaled on
the spikes are the remains of a white man, half-fleshed,
half skeleton, in explorer-type grab. Indy reaches out
and takes hold of the man's carcass. As the spikes slowly
retract, Indy pulls it free and seats the remains gently
on the floor.
INDY
Forrestal.
SATIPO
(gulps)
We can go no further.
INDY
Now, Satipo, we don't want to be
discouraged by every little thing.
Indy steps sideways into the chamber. His back pressed
against the very points of the retracted spikes, he moves
along the edge of the light beam, and steps clear on the
other side. Satipo grimaces and begins sweating his way
through.
STAIRWAY
Indy and Satipo come down stone stairs to a tight land-
ing. Framing the entry are a carefully strung network of
dead vines, each somehow hooked into the wall, narrowing
the opening even more.
INDY
(taking torch)
Let me see that.
He lowers the torch to the floor of the landing. The
landing is carpeted with human skeletons, one on top of
another, all squashed flat as cardboard. Satipo gasps.
Indy looks up at the ceiling of the landing, then steps
onto skeletons, which make a cracking noise under his feet.
INDY
Try not to touch the vines.
FOYER OF THE SANTUARY
The men are in a high, straight hallway 50 feet long.
The door at the end is flooded with sunlight.
SATIPO
Senor, I think we are very close.
Indy stands still looking at the hall.
SATIPO
(impatient)
Let us hurry. There is nothing
to fear here.
INDY
That's what scares me.
They begin walking down the hall side by side. Satipo
has inched a little ahead. Suddenly his lead foot comes
down and through the floor! As Satipo begins to pitch
forward, Indy grabs him by the belt and pulls him back.
They both look down at the "floor".
Indy swings his whip across the floor. Fifteen feet of
it cuts open beneath the lash, falling away to reveal
black pit as wide as the hall. The illusory floor was
made of dust-covered cobwebs. Satipo picks up a stone
and drops it down the pit. No sound. The two men ex-
change glances. Indy looks up at the high roof of the
hall. He swings the whip up around a support beam, tests
its strength with a pull and swings over the pit on the
whip. From the other side he swings the whip back to
Satipo, who throws Indy the torch. Satipo swings across.
When they are both standing on solid floor there is a
moment of quiet in which they hear, from far, far below--
SPLASH! Indy wedges the whip handle into the wall and
leaves it strung to the beam for quick retreat.
THE SANTUARY
A large, domed room. Ten evenly-spaced skylights send
their shafts of sunlight down to a unique tiled floor:
white and black tiles laid out in a lovely, intricate
pattern. Indy and Satipo stand at the door and look
across the wide room at the altar. There, in the supreme
hallowed spot, is a tiny jeweled figurine, Indy's real
objective.
Two torches, many years old, are in holders by the door.
Indy takes one down and lights it. He gives the regular
torch to Satipo.
SATIPO
There's plenty of light, amigo.
Indy kneels and uses the unlit end of the torch to reach
out and tap a white tile. It is solid. He taps a black
tile. There is a whizzing sound and a tiny dark sticks
in the torch. Satipo points to the wall nearby: there is
a recessed hole there.
SATIPO
From that hole!
Indy nods, stands and looks around the sanctuary. The
entire room is honeycombed with the same kind of hole.
Satipo sees it too and is properly impressed.
INDY
You wait here.
SATIPO
If you insist, senor.
Torch in hand, Indy begins his careful walk across the
sanctuary. Stepping only on the white tiles, he almost
appears to be doing a martial arts kata. Before each
big move he waves the torch in front of him head to toe,
looking at the flame. Halfway out, he sees something
on the floor and kneels to look at it.
A dead bird lies on one of the white tiles. Its body is
riddled with little deadly darts. This has great signi-
ficance to Indy and he stands with even greater caution.
He waves the torch ahead of him and at waist height an
air current whips at the flame. Indy ducks under it and
leaves a burn mark on the white tile beneath it.
Satipo watches, wide-eyed and mystified.
Indy reaches the altar. The tiny idol looks both fierce
and beautiful. It rests on a pedestal of polished stone.
Indy looks the whole set-up over very carefully. From
his jacket he takes a small, canvas drawstring bad. He
begins filling it with dirt from around the case of the
altar. When he has created a weight that he thinks ap-
proximates the weight of the idol, he bounces it a couple
times in his palm concentrating. It's clear he wants to
replace the idol with the bag as smoothly as possible.
His hand seems ready to do that once, when he stops, takes
a breath and loosens his shoulder muscles. Now he sets
himself again. And makes the switch! The idol is now in
his hand, the bag on the pedestal. For a long moment it
sits there, then the polished stone beneath the bag drops
five inches. This sets off an AURAL CHAIN REACTION of
steadily increasing volume as some huge mysterious mechanism
rumbles into action deep in the temple.
Indy spins and starts his kata back across the sanctuary
at four times the speed.
Satipo's eyes widen in terror. He turns and runs.
THE RETREAT - INTERCUTTING INDY AND SATIPO
The sanctuary has begun to rumble and shake in response
to the mysterious mechanism. Just as Indy goes out the
door, a rock shakes loose from the wall and rolls onto the
tiles floor. Immediately, a noisy torrent of poison darts
filled the room.
IN THE FOYER, Satipo swings across the pit. He makes it
just as the whip comes undone from the beam, leaving Indy
without an escape. Satipo, extremely nervous, regards
the whip a moment then turns back to face Indy, who has
run up to the far side of the pit.
SATIPO
No time to argue. Throw me the
idol, I throw you the whip.
Indy hesitates, eyeing the rumbling walls.
SATIPO
You have no choice! Hurry!
Indy concurs with that assessment. He tosses the idol
across the pit to Satipo. Satipo stuffs it in the front
pocket of his jacket, gives Indy a look, then drops the
whip on the floor and runs.
SATIPO
Adios, amigo!
Indy grimaces. He had a feeling this might happen. He
looks around.
AT THE VINED LANDING, Satipo flies through like a chubby
ballet dancer and takes the steps five at a time.
IN THE FOYER, Indy runs in full stride to the edge of the
pit and broad jumps into space. He doesn't make it. His
body hits the far side of the pit and he begins to slide
out of view. Only wild clawing with his fingers at the
edge of the pit stops his descent. With just the tips
of his fingers over the edge, he begins pulling himself up.
AT THE CHAMBER OF LIGHT, Satipo has slowed down. He begins
to edge carefully around the light shaft.
AT THE VINED LANDING, Indy sails through sideways and rolls
to a stop at the bottom of the steps. His whip is grasped
in his hand. As he raises himself, he hears, from above
the giant spikes of the Chamber of Light CLANG! and an
abrupt, sickening rendition of SATIPO'S LAST SCREAM. Indy
runs up the steps. The rumbling sound grows louder.
AT THE CHAMBER OF LIGHT, Indy slides to a stop. The
spikes have retracted, taking Satipo's body to one side.
Indy edges into the chamber with his back to the shaft
of light. Soon he is face to face with the dead Satipo;
spikes protrude from several vital spots in the Peruvian's
body. Indy removes the idol from Satipo's pocket and
moves quickly out the other side.
INDY
Adios.
THE INCLINED PASSAGE
Indy shoots out of a cut-off hallway and turns toward the
exit. The rumbling is very loud and now we see why:
right behind Indy a huge boulder comes roaring around a
corner of the passage, perfectly form-fitted to the passage-
way. It obliterates everything before it, sending the sta-
lactites shooting ahead like missiles. Indy dashes for
the light of the exit. His hat flies off his head. Almost
immediately it is crushed by the boulder. Indy dives out
the end of the passage as the boulder slams to a perfect
fit at the entrance, sealing the Temple.
EXT. FRONT OF THE TEMPLE - DAY
Indy lies on the ground, gasping for air. A shadow falls
across him and he looks up.
WHAT HE SEES. looming above him are three figures. Two
are HOVITOS WARRIORS in full battle paint and loin cloths.
They carry long blow guns. But the man in the center draws
Indy's attention. He is a tall, impressive white man,
dressed in full safari outfit including pith helmet. His
name is EMILE BELLOQ. His face is thin, powerful; his eyes
hypnotic; his smile charming, yet lethal. His heavily
French-accented speech is deep, mellifluous, wonderful.
Back beyond Belloq and his two escorts, thirty more Hovitos
Warriors hover at the edge of the trees.
BELLOQ
Dr. Jones, you choose the wrong
friends. This time it will cost you.
Belloq extends his hand. Indy looks at it, then pro-
duces the idol and hands it to Belloq. Belloq extends
his other hand, smiling. Indy hands over his gun. Belloq
sticks it in his jacket.
BELLOQ
And you thought I'd given up.
INDY
(eyeing the Hovitos)
Too bad they don't know you like
I do, Belloq.
BELLOQ
(smiles)
Yes, too bad. You could warn
them...if only you spoke Hovitos.
With that, Belloq turns dramatically and holds the idol
high for all the Hovitos to see and says something in
Hovitos. There is a murmur of recognition and all the
Indians, including Belloq's escorts, prostrate themselves
upon the ground, heads down.
Indy is immediately up and running toward the edge of the
clearing.
BELLOQ
(in Hovitos)
Kill him!
AT THE EDGE OF THE CLEARING, Indy disappears into the
foliage. An instant later, the leaves are peppered with
a rain of poison darts and spears.
EXT. THE JUNGLE - INDY'S RUN - VARIOUS SHOTS - DAY
Indy runs like hell through steadily falling terrain.
And always close behind, a swift gang of angry Hovitos.
Occasionally they get close enough to send a dart or
spear whizzing past Indy's head.
EXT. THE URUBAMBA RIVER - DUSK
An amphibian plane sits in the water beneath a green cliff.
Sitting on the wing is JOCK, the British pilot. Indy
breaks out of some distant brush and runs along the path
at the top of the cliff.
INDY
(yelling)
Get it going! Get it going!
Jock hops in and fires up the plane's engines. Indy
reaches a spot on the cliff above the place, glances
back, them jumps into the river. He comes up, swims
to the plane and grabs a strut.
INDY
GO!
Jock starts the plane moving across the water as Indy
walks across the wing and falls into the passenger com-
partment.
INT. JOCK'S PLANE - DUSK
Indy relaxes and lies across the seat, a big smile on
his face. One hand drops to the floor of the cabin and
Indy jumps, hitting his head. On the floor of the cabin
is a huge boa constrictor. Indy tries to get his whole
body onto the seat. Jock sees what's happening.
JOCK
Don't mind him. That's Reggie.
Wouldn't hurt a soul.
INDY
I can't stand snakes.
JOCK
The world's full of them, you know.
INDY
I hate them.
JOCK
Come on now, Sport, show a little
of the old backbone.
EXT. JOCK'S PLANE - TWILIGHT
It soars off over the dark jungle.
INT. INDY'S OFFICE, SMALL EASTERN COLLEGE - DAY
It's autumn and the pretty, New England campus out Indy's
window reflects it in dazzling color. A few weeks be-
fore the start of classes. Activity just picking up.
Some students about.
Indy is at a bookcase near the window and he looks
quite different in this setting. His outfit is tweedy,
slightly rumpled in the professional style. Part of his
attention is focused in a book and he wears glasses to
see the fine print. The office is cramped, absolutely
inundated with books, maps, etchings and archeological
artifacts. In fact, the only neat spot in the room right
now is Indy's desk, which has been cleared off expressly
for the benefit of--
MARCUS BRODY, the Curator of the National Museum in Wash-
ington, D.C. Brody is examining the small artifacts Indy
pocketed on his way into the Peruvian Temple. He occasion-
ally uses a jewelers eyepiece to get a closer look. But
he is distracted, his concerns elsewhere, and it is this
that his old friend Indy senses from across the room.
BRODY
Do you think the idol will ever
show up?
INDY
I don't know. Just because Belloq
had it doesn't mean he kept it.
Indy snaps the book closed and puts it on the shelf.
He takes his glasses off and focuses on Brody. At the
windowed door to his office, two pretty Coeds pause for
a moment, look in at their sexy Archeology professor,
giggle and disappear.
INDY
Getting it away from those Indians
would be a neat trick
(a hard look)
I hope they got him.
A young male graduate student, Indy's TEACHING ASSISTANT,
taps on the door and then pushes his way in with an arm-
load of reference books. Indy helps him find a spot
for them.
TEACHING ASSISTANT
I couldn't get the McNabe, Professor.
Someone's got it checked out 'til
next month when classes start.
INDY
That's all right, Phil. Thanks
a lot.
TEACHING ASSISTANT
(eager to please)
Will there be anything else?
INDY
No. I'll see you Thursday.
The Teaching Assistant leaves. Brody is scowling as
he examines the last of the artifacts.
INDY
Hey, if you don't like them, I can
always return them.
BRODY
No, they're beautiful. The Museum
will buy them as usual. No ques-
tions asked.
INDY
Then what's wrong?
BRODY
I brought along some people today.
INDY
What kind of people?
BRODY
Government.
INDY
(concerned)
Government?
BRODY
Don't worry, it's not about your
business.
(indicates the artifacts)
They're from the Army.
INDY
I've already served.
BRODY
Army Intelligence. They're looking
for Abner.
INT. INDY'S LECTURE HALL/CLASSROOM - DAY
Indy's course--a combination of archeology and anthro-
pology--is taught in this amphitheater-type lecture hall.
His desk and lectern hold large reference books; black-
boards line the wall. Bones, maps, charts festoon the
walls.
Indy leans against his desk talking with Brody and two
uniformed Army officers, COLONEL MUSGROVE and MAJOR
EATON, who are situated around the first seats in the
classroom.
MUSGROVE
--But you did study under Professor
Ravenwood at the University of Chicago?
INDY
(nods)
We haven't spoken in ten years.
I'm afraid we had a bit of a fall-
ing out.
EATON
You know nothing of his whereabouts?
INDY
(negative)
Just rumors. Somewhere in Asia, last
I heard.
Musgrove and Eaton exchange a look; they're disappointed.
EATON
(to Musgrove)
Maybe Dr. Jones can make sense of it.
Again the military men have a silent communication, de-
ciding what to reveal.
MUSGROVE
Well...you must understand, Dr. Jones,
this is all strictly confidential.
INDY
I understand.
MUSGROVE
Yesterday, one of our European sec-
tions intercepted a Nazi communiqué
from Cairo to Berlin. We don't
quite know what to make of it.
Musgrove takes a sheet from his briefcase.
MUSGROVE
Here it is--"Tanis development pro-
ceeding. Acquire headpiece, Staff
of Ra, General Tengtu Hok, Shanghai.
Locate Abner Ravenwood, U.S."
Brody is excited. He looks at Indy.
BRODY
Tanis. They must have discovered
the lost ruins.
Indy contemplates this big news; he's impressed.
INDY
(to himself)
Tanis. Ain't that somethin'!
EATON
Frankly, we're a little suspicious...
An American being mentioned so prom-
inently in a secret Nazi cable.
INDY
Ah, Ravenwood's no Nazi.
EATON
Then what do they want him for?
INDY
They're looking for the headpiece
to the Staff of Ra.
MUSGROVE
(indicates his sheet)
But it says here that's in China.
INDY
Only half of it. Ravenwood had
the other half.
EATON
What would the Nazis want with
this--this Staff of Ra?
BRODY
I can tell you that. Over the last
two years the Nazis have had teams
of archeologists running around the
world looking for all kinds of re-
ligious artifacts.
MUSGROVE
That's right. Hitler's a nut on
the subject. Crazy. He's obsessed
with the occult.
EATON
What is this Staff of Ra, anyway?
INDY
It all has to do with the Ark of
the Covenant.
(the Army guys look mystified)
The chest the Hebrews used to carry
around the Ten Commandments.
Now it's the Army men who are impressed.
INDY
An Egyptian Pharaoh stole the Ark
from Jerusalem and took it back to
the city of Tanis. A short time
later, Tanis was consumed by the
desert in a sandstorm that lasted
a year. But before that, the Pha-
raoh had had the Ark hidden away in
a secret chamber called the Well of
the Souls. Which is where the Staff
of Ra comes in.
Indy moves to the blackboard and makes a quick sketch
to give a rough idea of the system as he describes it.
(And we get a glimpse of what an interesting and enthu-
siastic teacher he must be)
INDY
Now this was rather clever. The
Staff was really just a big stick--
oh, I don't know, say like this--
(he indicates about six feet)
--no one really knows for sure. Any-
way, it was capped by an elaborate
headpiece with a carving of the sun
at the top. What you had to do was
take the Staff to a special map room
in Tanis--it had the whole city laid
out in miniature on the floor. When
you placed the Staff in a certain
spot in this room, at a certain time
of day, the sun would shine through
a hole here in the headpiece and then
send a beam of light down here--to
the map--giving you the location of
the Well of the Souls...
MUSGROVE
...where the Ark of the Covenant
was kept.
INDY
(nods)
Which is probably what the Nazis
are after.
EATON
What's this Ark look like?
INDY
Look like? Why, it's right here...
Indy pulls a big format book from the stack on his lectern
and flips through the pages until he finds a large color
print. The other men gather to look.
THE PRINT fills the screen.
It shows a Biblical battle. The Israelite Army is van-
quishing an opposition force. At the forefront of the
Israelite ranks, two men carry the Ark of the Covenant,
a beautiful gold chest, crowned by two sculptured gold
angels. The men do not touch the Ark itself; rather
they carry it by use of two long wooden poles which pass
through rings in the corners of the Ark. The painting
is very dramatic, full of smoke, tumult and sinewy dying
men. But the most astounding thing in the picture is the
brilliant jet of white light and flame issuing from the
wings of the angels. It pierces deep into the ranks of
the retreating enemy, wreaking devastation and terror.
EATON
Good God!
INDY
Yes. That's what the Hebrews thought.
MUSGROVE
What's that supposed to be coming
out of there?
INDY
Who knows...lightning...fire...the
power of God.
EATON
I'm beginning to understand Hitler's
interest in this thing.
INDY
Oh yes. The Bible tells of it level-
ing mountains and wasting entire re-
gions. Moses promised that when the
Ark was with you, "your enemies will
be scattered and your foes fell be-
fore you".
(pause)
An army which carries the Ark before
it is invincible.
Eaton and Musgrove exchange worried looks.
INDY
Oh, there's one other thing that
Hitler undoubtedly believes about
the Ark...
(a long pregnant pause)
It's said that the Lost Ark will be
recovered at the time of the coming
of the True Messiah.
MUSGROVE
Dr. Jones, you've been very helpful.
I hope we can call on you again if
we have questions.
INDY
Most certainly.
Brody and Indy exchange a look as they all shake and
Brody starts to leave with the Army men.
EXT. FRONT DOOR, INDY'S HOUSE - NIGHT
Indy's English Tudor, upper middle class home. Quite
tony; well beyond the financial reach of an honest
college professor. Marcus Brody has already rung the
bell. Indy opens the door. He is dressed in a tuxedo.
BRODY
I've got to talk to you.
INDY
This isn't really a good time.
BRODY
Indy, it's important.
INDY
All right. Come on in.
INT. FOYER, INDY'S HOUSE
The lush tone continues here in Art Deco and shiny marble.
Indy motions Brody toward the study to one side.
INDY
I'll be in in a minute.
As Brody passes the entrance to the expansive living room,
he spots a beautiful, silk-gowned Harlow-type lounging on
the sofa in front of a roaring fire. She is sipping cham-
pagne.
INT. STUDY, INDY'S HOUSE
Brody enters the book-lined, dark-wooded study. He paces
for a moment before the fire which is dying in the fire-
place, then spots something and goes over to Indy's big
desk. The surface is covered with open books, monographs,
maps and drawings--all about the Ark of the Covenant.
Brody smiles; he knows his friend very well. Indy comes
in, closing the door behind him. Brody turns to him with
a triumphant expression.
BRODY
They want you to go for it. And
they'll pay.
INDY
(smiles)
Good work, Marcus. I had a feeling
this would happen. And, of course,
the Museum gets the Ark when we're
done.
BRODY
(smiles)
Of course.
Indy's manner is vigorous, aggressive.
INDY
Okay, here's the way it's gonna be.
First, I'll high-tail it to Shanghai
and get the piece from General Hok.
Then I think I know where I can find
Ravenwood. If only I can get--
BRODY
General Hok's a tough customer. They
don't call him the Wild Boar for nothing.
And he's tied in with the Japanese.
INDY
I'll worry about that when the time
comes. My only hope is to find the
Well of the Souls before the Nazis do.
WIPE TO:
EXT. IN THE AIR - DAY/NIGHT
A Pan Am Clipper flies west over the Pacific.
WIPE TO:
INT. KEHOE'S CAR (SHANGHAI AIRPORT) - DAY
Indy is barely into the front seat of a dilapidated
Ford as the driver, BUZZ KEHOE, is peeling out into
traffic. In the back seat is a Chinese named BANG
CHOW. Kehoe zigs crazily through traffic with only
his left hand as he reaches over to shake with Indy.
KEHOE
Buzz Kehoe, Army Intelligence.
You've met Bang Chow.
INDY
What's the hurry?
KEHOE
Some German agents got here two
hours ago. Luckily, Bang was able
to have them detained at Customs.
We'll have to hurry.
EXT. HOK'S STREET - DAY
Kehoe's car emerges from an alley. Down the block is
Tengtu Hok's modest, walled palace. Kehoe's car slows
a bit and Bang steps from the moving car with a small
black suitcase in his hand. While he heads down the
street toward Hok's place, Kehoe's car continues across
the street and into an alley on the other side.
EXT. HOK'S STREET - IN FRONT OF PALACE - DAY
A Mercedes limousine appears round a corner and squeals
to a stop at the front gate of the palace, which is manned
by a sturdy Chinese Gateman. There are three Germans in-
side, one the driver.
EXT. ALLEY BEHIND HOK'S MUSEUM - DAY
Kehoe, alone now, pushes a trash container casually into
position to hide a newly created hole in the rear wall of
Hok's Museum where several stone blocks have been removed.
He looks around and ambles back to the car.
INT. HOK'S PALACE - ENTRY HALL
The three Germans wait impatiently in a magnificent foyer.
A chime sounds and huge double doors open to reveal TENGTU
HOK, flanked by two uniformed Japanese Soldiers and a
roved Chinese Advisor. He wears a fantastic gold orna-
mental robe. Despite the majesty, however, nothing can
disguise the fact that Hok is basically a wild, fat bar-
barian; an animal. Hok and his escort group bow in what
is the beginning of a long welcoming ceremony. The Germans
exchange impatient glances but decide they should play it
as it comes. They bow.
INT. HOK'S MUSEUM
No person in sight. Instead, we see a magnificent dis-
play of ancient artifacts. Glass cases hold the velvet-
couched pieces at random spots on the shining marble
floor. We hear an odd sound. Near the floor on the rear
wall of the museum, a steel ventilation grate moves. A
hand slides it gently across the marble. Indy sticks his
head out and looks around.
INT. HOK'S PALACE - TEA ROOM
The three Germans are being served tea and exotic deli-
cacies. A pleased Tengtu Hok watches from a throne-cushion.
When the tray of tiny delicacies is presented to him, he
takes a massive handful, crushing them together on their
way to his smiling mouth.
INT. HOK'S MUSEUM
A huge golden gong, seven feet in diameter, is suspended
from the ceiling by a hook. An enormous hammer hangs
poised above it, from which emanate myriad tiny threads
which run up and across the ceiling, then down to the
various display cases. Indy looks up at the gong, then
continues his quick, quiet foray among the cases. Be-
yond him, a high window.
INT. HOK'S PALACE - TEA ROOM
Hok and his visitors stand to go. The German's pleased
expressions make it clear they're finally on their way
to the museum.
INT. HOK'S MUSEUM
Indy arrives at his destination. The lovely, carved gold
section of the headpiece is nested on purple velvet in a
glass case. At the bottom of the piece is a round hollow
where the staff would fit. There is a grunting sound be-
hind Indy and he spins, already reaching for his revolver.
A fierce Japanese Samurai is running at Indy full speed
down an aisle of display cases. His sword is raised over
his shoulder ready to cut Indy in half. He's six feet a-
way when Indy's gun levels and fires twice, blasting him
backwards. Indy is still looking over his gun when an-
other samurai sword comes down from the side and knocks
the pistol brutally out of Indy's grip; his hand avoids
amputation by a quarter of an inch.
An amazed Indy backs away from the crossing aisle as the
Second Samurai steps in to face him, sword raised. Indy
backs away into an open space and his bullwhip appears
in his hand. He gives it one savage CRACK! to announce
its arrival and the Samurai slows down, eyeing it curiously.
The Samurai does not look unhappy about this confrontation.
How pure it is--The Sword versus The Whip.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
Tengtu Hok and the Germans have obviously heard something.
They are hurrying along the walkway at the side of the
building, Hok in the lead. Up ahead is the foot bridge
which crosses from the palace to the museum entrance over
a moat.
EXT. STREET IN FRONT OF THE PALACE - DAY
The Lovely Mercedes limousine blows up.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
The Germans spin toward the blast. Drawing weapons, they
run back to investigate. Hok follows them, confused.
INT. HOK'S MUSEUM
Indy and the Samurai face each other. They're both breath-
ing hard from previous, no-contact passes at each other.
Now Indy begins swinging the whip over his head again. It
whizzes out toward the Samurai's face. The Samurai takes
two lightning-quick cuts at the leather, but misses. Indy
swings for the Samurai's feet; the Japanese jumps nimbly,
slashing at the whip. Indy does it again. The Samurai
hops it. Once more. The Samurai is concentrating on hop-
ping it.
Indy sees it. The split second he wants. The whip flashes
up from the floor and wraps solidly and irrevocably around
the Samurai's neck. Indy gives it a murderous pull and
the Samurai is dead on his feet.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
Hok and the three Germans are looking down at the flaming
remains of the Mercedes. A look of concern crosses Hok's
face. He turns and runs back toward his beloved museum.
INT. HOK'S MUSEUM
Indy is at the case containing the headpiece. He smashes
the glass with a samurai sword, reaches in and grabs the
piece. Immediately, behind him, the huge hammer falls
and the sound of the gong thunders through the museum.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
At the sound of the gong, the running Hok skids to a halt
with a crazed expression on his face. He disappears for
two seconds in an alcove and emerges holding a big, black
Thompson Submachine Gun. He runs across the foot bridge
and is just barely over it when it blows up. Hok, safe,
looks behind him in amazement and then turns to the museum.
INT. HOK'S MUSEUM
The double doors at the entrance slam open to reveal Hok.
Indy is halfway along an unprotected wall back to his ven-
tilation entry route. Hok opens up on him, cutting off
his retreat. Indy jumps behind a marble column, which is
promptly blasted with machine gun fire.
Indy looks above him, sees the giant disk of the gong.
Reaching up, pushing with tremendous effort, he maneuvers
it off the hook. It bounces down to the floor on its side,
chipping the marble with its monstrous weight. Indy stead-
ies it and then puts his whole body into rolling it across
the room toward the window. As it starts to roll, Indy
slips behind it and runs across the room with it.
Hok can see the rolling gong. He opens up on it.
The vicious cacophony of machine gun fire is joined by
the musical reports of bullets hitting the gong and ric-
ocheting away. Very, very noisy.
Behind the gong, Indy gauges his move. As the gong is
about to be stopped by a marble bench, Indy talks a long
stride onto the bench and dives through the glass of the
high window. Hok's bullets hit the wall.
EXT. ROOF - DAY
Indy lands in a shower of glass on the jutting roof of
the museum's first floor. He rolls to a crouch and is
immediately being fired upon. The Germans, cut off from
the museum, are standing on the palace walkway firing at
him. Indy takes off fast for the rear of the museum.
EXT. ALLEY BEHIND MUSEUM - DAY
Kehoe, craning to locate Indy, has the Ford rolling slowly
along the back of the museum. Bang scouts from the back
seat. Indy appears on the roof at a run, gauges the move-
ment of the car and jumps from the roof of the museum to
the roof of the sedan. Unfortunately, the roof of the
old car can't take it and Indy's legs knife right on
through to the interior, where he scares the hell out of
Kehoe.
INT. KEHOE'S CAR - DAY
Indy squirms his way down into the front seat.
KEHOE
Jesus! Are you all right!
INDY
(he's felt better)
Great. Got it.
Kehoe guns it, throwing Indy back against the cushions.
KEHOE
What now?
INDY
I've got to get to Nepal.
WIPE TO:
EXT. DC-3 IN THE AIR - DUSK
The plane flies west into the sunset.
INT. DC-3 - NIGHT
Under a meager seat light, Indy is pouring over a jour-
nal article by Abner Ravenwood and related map of Nepal.
A few rows back, across the aisle, a trench-coated Euro-
pean Spy eyes Indy.
WIPE TO:
INT. "THE RAVEN" SALOON - PATAN, NEPAL - NIGHT
A huge stuffed raven, wings spread wide, is mounted be-
hind the long bar in the noisy, crowded saloon. A lively
mix of patrons is represented in the late hour tableau:
Nepalese natives, fierce Sherpa mountain guides, sleazy
international smugglers and fugitives, and, of course,
mountain climbers from every corner of the earth. A tall
Nepalese, MAHDLO, is the bartender.
In a corner near the fireplace trouble breaks out
suddenly between the groups at two neighboring tables.
Ferocious representatives from each table--one a wild-
looking SHERPA, the other a muscular Australian CLIMBER--
jump up to face each other. As the two contenders stand
poised for action, their respective supporters shift in
their places, fondling lethal ice axes and clubs.
SHERPA
Gmoiska! Shurga rintoik!
CLIMBER
Aye! That'll be your last word.
The bar has quieted ominously and so we hear with startling
clarity when--a door behind the bar slams open with a huge
BANG! and some Presence, too small to be seen as it moves
through the forest of towering patrons, makes a beeline
for the troubled corner of the bar. A path clears for it.
The Sherpa and the Climber are about to kill each other
when the Presence arrives directly between them: she is
MARION RAVENWOOD, twenty-five years old, beautiful, if a
bit hard-looking. At this moment, however, that look
does not hurt. She is not intimidated by the combatants;
she jabs accusatory fingers into their chests. She is
angry as hell. The patrons shrink under her gaze.
MARION
That does it! I've been patient
with you no-goods long enough. I'm
not open at 2 o'clock for myself,
you know. It's all for you. And
how do you repay me: Trouble and
noise and blood on my floor! I
won't have it. Everybody out! Out!
Out! We're closed. Closed! Do your
killing outside! And don't leave any
bodies on the porch!
The place clears quickly. Stragglers and grumblers are
given special attention by Marion and Mahdlo, who has
come from behind the bar carrying a big ax handle.
Mahdlo herds the crows out the front door as Marion turns
and walks behind the bar.
A scowl on her lovely face, she has just begun clearing
the bar of glasses when she notices one remaining Patron
huddled over a glass at the far end of the bar. Grimacing
in exasperation, she heads that way like a locomotive.
MARION
Hey you, deaf one! I said out of
my place. I don't mean next Easter,
I mean now--
She is almost on him when Indy looks up smiling. Marion
stops, stares, shocked.
INDY
Hello, Marion.
She hits him with a solid right to the jaw, knocking him
off the barstool on the floor. He rubs his jaw and
smiles up at her.
INDY
Nice to see you, too.
MARION
Get up and get out.
INDY
(getting up)
Take it easy. I'm looking for
your father.
MARION
(bitterly)
Well you're two years too late.
Indy's attitude changes instantly. This is sad news. He
is silent for a long time. Mahdlo comes in the front door
and hurries forward when he sees Indy with Marion. He
looks to her for guidance, but she stays him with a gesture.
MARION
Go home, Mahdlo. I'll see you to-
morrow.
Mahdlo is hesitant, but lays the ax handle on the bar and
goes out. Indy has been barely aware of him. Now he set-
tles again on the barstool. Marion has a vindictive look.
She'll let him stay, but she wants to inflict as much pain
as possible.
INDY
What happened?
MARION
Avalanche. Up there. He was dig-
ging. What else? He spent his
whole life digging. Dragging me all
over this rotten earth. For what?
INDY
Did you find him?
MARION
Hell no. He's buried where he was
working. Probably preserved real
good, too. In the snow.
Suddenly the hardness cracks. She is on the verge of
tears and does not want him to see them. She turns away
and takes a whiskey bottle from the shelf, then turns
back to pout herself a drink.
INDY
Not a bad way to go. Doing what
he loved.
MARION
(vitriolic)
Don't give me that stuff! What
do you know?
(she takes a drinks)
I'm the one that was left in a bad
way. He didn't have a penny. Guess
how I lived, Mister Jones. I worked
here. And I wasn't the bartender.
(another swallow)
Finally the guy that owned the joint
went crazy. Snow crazy. They took
his away screaming. As they dragged
him out, he said the place was all
mine for life.
She looks around the saloon.
MARION
Can you imagine a more evil curse?
(pause)
So far, it's working.
INDY
Why not leave? Go back to the States.
MARION
I'll go back. I'll get there. Not
that there's a soul there who knows
my name or cares. But I'll go. And
when I do, they'll know me. 'Cause
I'm going to go back in style. With
money. A goddamn lady!
INDY
Where you gonna get it?
MARION
If I knew that, you think I'd still
be running this dive?
Indy looks at her, thinking. Under his gaze, she blushes,
for reasons only she understands. She looks into her
glass and, for a moment, she softens.
MARION
I'll tell you something Indy. I've
learned to hate you in the last ten
years. But somehow, no matter how
much I hated you, I always knew that
someday you'd come through that door.
I never doubted that. Something made
is inevitable.
(hopefully)
Why are you here...now...tonight?
Indy takes a long time to answer.
INDY
I need one of the pieces your father
collected.
Marion's eyes go icy. She swings at him again with her
right, but this time he catches her at the wrist. Then
he stops her left, which she has brought up to slap him.
MARION
You son-of-a-bitch! You know what
you did to me, to my life? This
is your handiwork.
INDY
I never meant to hurt you.
MARION
I was a child!
INDY
You knew what you were doing.
MARION
I was in love.
INDY
I guess that depends on your
definition.
MARION
It was wrong. You knew it.
Indy releases her arms.
INDY
Look, I did what I did. I don't
expect you to be happy about it.
But maybe we can do each other
some good.
MARION
Why start now?
INDY
Shut up and listen for a second. I
want that piece your father had.
I've got money.
This stops her.
MARION
How much?
INDY
Enough to get you back to the States.
Where are his things?
MARION
Gone. I sold it all. It was all
junk. The junk he wasted his life on.
INDY
Everything?
Marion nods.
INDY
(giving up)
That's too bad.
Indy feels tired, defeated. Marion is pleased.
MARION
You look disappointed. I like
that. How's it feel?
Indy has to smile at her glee.
MARION
(nods at his empty glass)
What are you drinking?
INDY
Seltzer.
MARION
(refilling his glass)
Real man's drink. Me, I like scotch.
And I like bourbon. And vodka and
gin. I'm not much for brandy. I'm
off that.
She pours herself another as Indy watches, amused.
INDY
You're a tough broad now, aren't you?
MARION
It's no act, pal. This ain't Sche-
nectady.
INDY
I can only say I'm sorry so many
times.
Marion looks at him thoughtfully, takes a drink.
MARION
You really have money? You don't
look rich.
(Indy nods)
I may be able to locate some of his
things. I know who's got them.
What do you want?
INDY
A bronze piece, about this size. In
the shape of the sun. Probably
broken off at the bottom. Has a
little hole in it, off-center.
Does that sound familiar?
Marion thinks, nods slowly.
INDY
Do you know where it is?
MARION
Maybe. How much?
INDY
Three thousand. American.
MARION
(negative)
That'll get me back, but not in
style. This doodad must be pretty
important.
INDY
Maybe.
A huge smile lights up Marion's face.
MARION
I knew it would happen eventually.
I knew it. Something had to go my way.
(pours herself another drink)
I've got to think this out. I'm
used to bargaining with yaks.
INDY
Okay, five thousand. That's all I
can give you now. I can get you more
when you land in the States.
MARION
You word, huh?
(Indy nods)
Just like you said you'd be back last
time? That was your word too.
INDY
I'm back, aren't I?
Marion sneers and they smile together.
INDY
You can trust me.
MARION
Come back tomorrow.
INDY
Why?
MARION
Because I said so, that's why. It's
about time I called the shots in this
relationship.
Indy nods, gets up to go.
MARION
Wait a minute. Leave the five thou-
sand here.
(Indy hesitates)
You want trust, give some. I want to
smell your money.
Indy thinks about this a moment, then reaches inside his
shirt and pulls cash from a money belt. He lays five grand
on the bar.
INDY
I trust you.
MARION
You're an idiot.
INDY
I've heard that.
Indy starts fro the door. Marion takes another think.
She is getting high.
MARION
Hold it. Come here.
INDY
(moving back)
Bossy, aren't you?
MARION
That's right. Give me a kiss.
Indy looks into her eyes, then leans over the bar and
kisses her deeply. When the kiss ends, their faces are
very close. Marion is flushed. She liked it and would
like more. She raises her glass between them to disci-
pline herself.
MARION
Get out of my place.
Indy smiles and walks to the front door. Then, without
looking back--
INDY
Tomorrow.
He's gone. Marion stares after him, thinking. She takes
a drink. Then slowly, her hand comes up to loose the
scarf that is draped around her throat. It falls away,
revealing her graceful neck above the dipping top of her
blouse. Hanging there on a gold chain against her white
skin is a sun-shaped golden medallion. The bottom looks
broken off. Marion lifts the medallion so she can see it
in her hand, then looks thoughtfully after Indy.
EXT. STREETS OUTSIDE "THE RAVEN" - NIGHT
Indy sits thinking at the wheel of an old car. Finally,
he puts the car in gear and drives away.
Across the street, the shadow in a doorway comes to life.
A dark form steps out to look at Indy's departing car;
it is the European Spy from the DC-3. He hurries off
in the opposite direction.
DISSOLVE TO:
INT. "THE RAVEN" - NIGHT
Marion stands before the fire that is shrinking in the
fireplace. She jabs at it abstractly with a poker,
thinking. Suddenly tears well up in her eyes. She lets
the poker slip from her hand, wipes away the tears. She
walks across the room to the end of the bar, still clut-
tered with bottles and glasses, and stops at the pile of
American money Indy has left. She takes the chain from
around her neck and lets the medallion slide off it into
her hand. She places it on the bar next to the pile of
money, thinking. Then, having reached some decision, she
picks up the pile of bills, walks up the back of the bar
and pulls a small wooden box from under the bar. She flips
open the top, puts the cash inside and closes the top.
She leaves the box on the bar and starts back toward
the medallion. The front door of the saloon bursts
open and Four Bad Men come in. Marion, halfway between
the valuable possessions and not wishing to draw
attention to either, stops where she is.
The Four Bad Men who advance on her are:
1.) the obvious leader, a short, vile, sadistic German
in spectacles by the name of BELZIG.
2.) a trench-coated SECOND NAZI.
3.) a ratty-looking NEPALESE and
4.) a mean MONGOLIAN. The second NAZI and the MONGOLIAN
both carry submachine guns.
BELZIG
Good evening, Fraulein.
MARION
The bar's closed.
BELZIG
We are not thirsty.
The Mongolian and the Nepalese poke around, checking
to make sure there's no one else there.
Down at the end of the bar, the medallion lies partially
hidden by surrounding glasses and bottles. The Second
Nazi stops very near it, but turns his back to it to face
Belzig and Marion.
MARION
What do you want?
BELZIG
The same thing your friend Dr. Jones
wanted. Surely he told you there would
be other interested parties.
Marion shakes her head.
BELZIG
Ah, the man is nefarious. I hope
for your sake he has not yet acquired
it.
MARION
Why, are you willing to offer more?
BELZIG
Almost certainly. Do you still have it?
MARION
No. But I know where it is.
Belzig's smile fades at this news. He's not a patient sort.
Marion is chilled by the look. She turns and moves to the
shelf of bottles behind her, reaching high for one, very
near the large stuffed raven. He hand lingers there a
moment and we see--
From an angle behind the stuffed raven, that the left wing
spread hides a Baretta automatic pistol. Marion's hand is
very near it, but withdraws with only a whiskey bottle as
the Mongolian walks toward her behind the bar.
Marion opens the bottle before Belzig, who watches her
intently.
MARION
How 'bout a drink for you and your
men?
The Second Nazi lights up at this suggestion. Belzig gives
him a withering look.
BELZIG
We will stick to the business at hand,
Fraulein.
MARION
(tough)
Fine. Why don't you come back to-
morrow when Jones is here and we'll
have an auction?
Belzig gives her a cold look then turns and walks over to-
ward the fireplace. As soon as his back is turned, the
Second Nazi grabs the nearest whiskey bottle and takes a
quick pull. In so doing, he leaves the medallion completely
exposed. Marion is aware of this as she looks at him. But
he quickly puts the bottle down again, obscuring the medal-
lion, when Belzig speaks from the fireplace.
BELZIG
I'm afraid an auction is not possible.
(pause)
Your fire is dying here, Fraulein.
(a beat, then threatening)
Why don't you tell us where the
piece is right now?
MARION
Listen, Herr Mac, I don't know who
you're used to dealing with, but
no one tells me what to do in my
place.
Belzig, still looking in the fire, sneers and shakes
his head.
BELZIG
Americans! You're all alike. Frau-
lein Ravenwood. I'll show you want
I'm used to.
He motions with his hand. The Mongolian moves up behind
Marion and lifts her roughly over the top of the bar,
knocking over bottles and spilling liquor. He deposits
her on the other side, where the Nepalese and the Second
Nazi flank her and hold her cruelly, arms behind her back.
Marion raises a ruckus.
Belzig turns from the fireplace. In his hand is the poker,
its end glowing orange. He advances on Marion. Marion
stops yelling, her eyes widen in terror.
MARION
Wait! I can be reasonable--
BELZIG
That time is passed.
The glowing poker point moves inexorably across the room
toward Marion's face.
MARION
You don't need that. I'll tell you
everything!
BELZIG
Yes, I know you will.
Belzig has no intention of stopping now. The glowing tip
is approaching Marion's face. The Nepalese watches with
savage glee.
The tip of the poker is five inches from Marion's nose
when there is a loud CRACK! and the fall of Indy's bull-
whip wraps around the middle of the poker and tears it
out of Belzig's hands. The poker sails high across the
room, free of the whip, and lands in the heavy curtains
that cover one window. The curtains immediately burst
into flame.
The four Bad Men look in surprise toward the front en-
trance. Indy is poised there, the whip in his right
hand, a .45 automatic raised toward them in his left.
INDY
Hello.
Now everything begins to happen very fast--
The Mongolian had just come around the bar at the end
opposite the medallion. He dives back to crouch behind
the end of the bar, raising his submachine gun.
Belzig and the Second German dive behind tables near the
bar. The Nepalese is slower to leave Marion, he draws a
Luger. Indy's .45 barks and the Nepalese dies spinning
against the bar. Indy fires in the direction of the
Mongolian.
Marion swings up over the top of her bar. Belzig fires at
her, but his bullets smash bottles behind the bar and thud
into the raven.
Marion flattens out on the floor behind the bar as bullets
hit above her. She reaches up, snatches the ax handle
from where Mahdlo left it, and begins crawling down the
length of the bar toward--
The Mongolian, who sticks his submachine gun out and fires
blindly in Indy's direction.
Indy is in a crouch behind a table, trying to get a shot
at someone. He doesn't notice in the din and confusion
when the door bursts open. An incredible, fearsome GIANT
SHERPA, almost seven feet tall, soars in and tackles Indy
from behind. The whip flies from Indy's hand as he and
the Giant Sherpa roll across the floor, upsetting furniture.
The Mongolian, seeing this, stands up confidently. Marion
rises behind him and bashes him over the head with the ax
handle. He goes down and out.
Fire has completely engulfed the curtains and is working
across the ceiling on decorative yak skin bunting. A burn-
ing fragment drops to the top of the bar, which immediately
lights up, fueled by the spilled alcohol. Full whiskey
bottles explode like Molotov cocktails.
Rolling on the floor, Indy and the Giant Sherpa are fight-
ing for control of Indy's .45. Belzig sees this and shouts
to the Second Nazi, who is rising from cover with submachine
gun in hand.
BELZIG
Shoot them both!
SECOND NAZI
He's our man!
BELZIG
Do as I say!
Both the Giant Sherpa and Indy hear this. The Giant
Sherpa exchanges an alarmed look with Indy and together
they swing the .45 around toward the surprised Second
Nazi. Two blasts blow him away.
That done, Indy brings a brass spittoon down on the Giant
Sherpa's wrist and the .45 slides away. Indy jumps up and
kicks the Giant Sherpa, who barely seems to feel it. He
grabs Indy and flips him effortlessly onto a table.
Belzig now has a clear shot at Indy. He raises his luger.
Marion, at the end of the bar, finally gets the hand of
the Mongolian's submachine gun. It roars to life in the
general direction of the ceiling.
Belzig runs for cover as Marion gets control of the gun
and levels it. Belzig dives around the end of the bar
opposite Marion. When he has set himself, he peeks up over
the edge of the scorched bar. The alcohol fire has moved
down the bar and now, much to Belzig's surprise, he finds
himself staring at the fire-blackened sun-shaped medallion!
His eyes widen. He cannot believe his good fortune. With-
out hesitation he picks up the metal medallion, palming it.
Immediately there is a sickening searing sound and Belzig's
expression changes from joy to agony. He screams in pain
and tries to shake the red-hot medallion from his skin.
Marion opens up and the bar starts to splinter in front of
Belzig. The medallion comes free of Belzig's hand and
rolls across the floor.
Belzig has had enough. In excruciating pain, he turns,
sees a window, runs and dives through the glass.
An exhausted Indy uses his whole body to upend the Giant
Sherpa, who lands hard on his back. They are surrounded
by flames.
EXT. "THE RAVEN" - SNOW BANK - NIGHT
Belzig has his burned hand stuck deep in the snow. Now
he withdraws it, steaming, and scurries off into the night
like a wounded animal.
INT. "THE RAVEN" - NIGHT
Marion throws down the empty submachine gun and moves
through the flames to the center of the bar where she left
the box with the five grand. She finds the remains of the
box and its contents: a shapeless pile of ash and charred
wood.
MARION
Unbelievable!
At the end of the bar, the Mongolian has come back to life.
He shakes out his head, then reaches inside his coat and
pulls out a Mauser pistol.
Indy smashes a chair over the head of the Giant Sherpa and
the huge creature goes down.
The Mongolian points his Mauser through the smoke and flame
at Indy. Suddenly, the Mongolian is shot dead.
Marion stands beneath her stuffed raven with the Baretta.
Indy moves quickly through the flames, his eyes scanning
the floor. He picks up his bullwhip and his crumpled felt
hat. He peers through the smoke till he spots Marion mov-
ing among the burning furniture.
INDY
Let's get out of here!
MARION
Not without that piece you want!
INDY
It's here?
Marion nods, kicks aside a burning chair. Another burning
beam falls from the roof. Indy pulls Marion close to him
protectively.
INDY
Forget it! I want you out of here.
Now!
He begins dragging her out.
MARION
(pointing)
There!
She breaks away from him, darts back and picks the hot
medallion up in the loose cloth of her blouse.
INDY
Let's go!
MARION
(looking around)
You burned down my place!
INDY
(figuratively)
I owe you plenty!
MARION
(literally)
You owe me plenty!
INDY
(smiles)
You're something!
MARION
I am something. And I'll tell you
exactly what--
She holds up the medallion possessively.
MARION
I'm your partner!
EXT. CAIRO - VARIOUS SHOTS - DAY
First we see the sprawl, the soaring minarets, the an-
cient skyline. Then we're closer, in the narrow, exotic
streets, teeming with life: fierce-looking men in tattered
galabiyas, black-gowned women with veiled faces, ragged,
barefoot children.
INT. DINING ROOM - SALLAH'S HOUSE (OLD CAIRO)
Indy and Marion have been welcomed like family into the
crowded home of SALLAH, his wife FAYAH, and their NINE
CHILDREN (ages 4 - 18). Fayah, a huge, imposing woman,
appears, at first glance, to be the power in the house.
Sallah, a small, cheerful, energetic fellow in his for-
ties defers to his wife in all matters of little importance.
Suddenly the general liveliness at the children's table
escalates into pandemonium, attracting the attention of
the adults.
FAYAH
Silence!
(there is silence)
Why do you forget yourselves?
The gaggle of grinning off-spring parts to reveal in their
midst--a MONKEY. It is munching some flat Arab bread.
FAYAH
What is this? Who brought this
animal in?
All the children chatter their innocence at once. The
Monkey chatters too; it's an entertainer. The Monkey
jumps from the children's table to the adults' and struts
slowly up toward Marion, who thinks it's the cutest thing
she ever saw. When it reaches her, it takes off its tur-
ban and does a deep, grand bow to her. She is delighted
and takes the Monkey into her arms. The Monkey kisses
her cheek. The children laugh.
MARION
Why, thank you. I like you too.
FAYAH
Then it shall be welcome in our house.
MARION
Oh, no! You don't have to have it
around if you don't want it--
SALLAH
(cheerfully)
All of Allah's creatures are welcome
here. You please us by letting us
please you.
EXT. COURTYARD - SALLAH'S HOUSE - NIGHT
Indy and Sallah sit in the small, protected courtyard.
Sallah holds the two sections of the headpiece, the medal-
lion and the base, and has for the first time fitted them
together. They fit perfectly and complete the headpiece.
He peruses the markings on the headpiece quizzically. Indy
is cleaning and loading a .45 automatic.
INDY
I knew the Germans would hire you,
Sallah. They couldn't have an ex-
cavation in the desert without the
best digger in Egypt.
SALLAH
All Arabs look alike to them, Indy.
INDY
Tell me about the map room at Tanis.
SALLAH
We found it three days ago. I
broke through myself.
INDY
Those Nazis are moving awfully fast.
SALLAH
The Frenchman is helping them.
Indy reacts.
INDY
Belloq. So he got away from the
Indians. This is going to be
more interesting that I thought.
SALLAH
I'm afraid this has put the Germans
close to finding the Well of the Souls.
INDY
(indicates the headpiece)
Even Belloq won't be able to find it
without that. Can you make anything
of those markings? They're nothing
I'm familiar with.
SALLAH
(shakes his head "no")
But I know someone who might. You
can go to see him tomorrow.
(a worried expression)
Indy...something bothers me.
INDY
What is it, my friend?
Sallah finds it hard to say. When he finally speaks, his
words are accompanied by a strange, eerie, foreboding rush
of wind through the courtyard. Just a coincidence we might
suppose.
SALLAH
It is the Ark. If it is there, at
Tanis...It is not something man was
meant to disturb...Death has always
surrounded it. It is not of this
earth.
The wind dies down. Indy shakes off a chill and stares
thoughtfully at his friend.
EXT. HEAVILY TRAFFICKED CAIRO STREET - DAY
Indy and Marion are briskly walking along one of Cairo's
busy bazaar streets. Vendors with fine cloth, pottery,
baskets, jewelry, etc. line the street. Marion has the
Monkey from Sallah's house on her shoulder.
INDY
Do you really need that monkey?
MARION
I'm surprised at you, Indy. Talk-
ing that way about our baby. He's
got your looks, too.
INDY
And your brains.
As Indy and Marion turn a corner, the Monkey seems to
notice something and immediately jumps from Marion's
shoulder and hurries off at a frantic pace down the street.
MARION
(looking disappointed)
Hey! Hey!... where're you going?
INDY
(dragging Marion on)
He'll be OK. Come on. Come on.
EXT. ANOTHER CAIRO STREET - DAY
The Monkey is seen running around another corner and
jumps into the waiting arms of MONKEY MAN, who appears
to be like a beggar with a dirty turban and an eye patch.
MONKEY MAN immediately hurries down the street and passes
into a building. In the building are two GERMAN AGENTS.
MONKEY MAN and the MONKEY both give the Heil Hitler salute
and engage in quick talk.
MONKEY MAN quickly leaves the two GERMAN AGENTS and gets
back to the street. He is obviously shadowing Indy and
Marion. Indy and Marion are just now passing by the MONKEY
MAN ducks back behind some baskets.
EXT. ANOTHER BUSY CAIRO STREET - DAY
Indy and Marion are passing under a balcony where a lone
GERMAN AGENT stands watch. After they pass, the AGENT nods
to some BAD ARABS who are hiding in the shadows of the
street. In a moment, Indy and Marion pass by the break.
Monkey Man turns and looks up at a roof further down the
alley. He waves with his hand. Someone up there waves
back.
EXT. A SMALL BAZAAR - DAY
Indy and Marion have reached a tiny square, made even
more cramped by its use as a small bazaar. They have
started working their way through the crowd when several
Bad Arabs and a German Agent begin to converge on them.
Indy immediately sees what's happening and pulls the bull
whip from his jacket. The first Bad Arab to reach them
gets hit in the mouth by the handle of the whip. Now all
hell breaks loose, with Bad Arabs, Innocent Shoppers, bas-
kets of fruit and tables of goods flying every which way
in the constricted space.
INDY
(to Marion)
Run! Get out of here!
Indy catches a dagger-wielding Bad Arab around the legs
with the whip and flips him. Marion is reluctant to leave
Indy.
INDY
Go, dammit! Go!
Marion goes. She runs off between two buildings. A Bad
Arab takes off after her. Monkey Man, now standing at
the edge of the square, points at Marion. The Monkey
jumps off his shoulder and follows Marion.
EXT. BETWEEN THE BUILDINGS - DAY
Marion runs along the narrow space and soon encounters a
five foot wall. She flops over it. The Bad Arab is
right on her heels. He reaches the wall and vaults over.
On the other side of the wall, the Bad Arab lands in a
crouch, looks ahead and doesn't see Marion. Immediately
a heavy earthen pot smashes over his head, putting him
out. Marion steps from an alcove and starts to run to-
ward the street at the other end of the walkway. Suddenly
another Bad Arab and a new German Agent appear in the
street at that end. Before they can spot her, Marion
retreats to the alcove again. There is a huge rattan
basket sitting there. Marion climbs in and closes the
top above her.
The only witness: The Monkey, who is now perched on the
fire foot wall.
EXT. THE SMALL BAZAAR - DAY
Chaos. An entire booth of pots and pans collapses on a
Bad Arab and a German Agent as Indy whips away a support.
EXT. BETWEEN THE BUILDINGS - DAY
The chattering Monkey leads a German Agent and two Bad
Arabs to Marion's hiding place, gesturing maniacally.
EXT. THE SMALL BAZAAR - DAY
Indy ducks under the swinging blade of a huge Arabian
sword and kicks the Bad Arab Swordsman in the groin.
EXT. SIDE STREET - DAY
The German Agent leads the way as the two Bad Arabs carry
the huge basket above their heads. The basket top has
been fastened closed, but Marion is making a fuss inside.
At the place where the street cuts across the far side
of the bazaar, Marion is able to wedge the top open one
inch and screams--
MARION
Indy-y-y-y!
EXT. THE SMALL BAZAAR - DAY
Indy has heard her. He looks across the square as the
basket and its escorts disappear beyond a building. One
last Bad Arab rises before him. Indy's whip flashes and
the Bad Arab's robe falls down to his ankles. Indy fran-
tically pushes his way through the panicked mass of human-
ity in the direction the basket has gone.
EXT. THE FOOT CHASE - INTERCUTTING INDY AND THE
MOVING BASKET - DAY
The Bad Guys move the basket as fast as they can through
streets, alleys and passageways thick with people. Indy
always seems to round a corner just in time to catch a
glimpse of the basket before it disappears around a new
corner. Indy must fight a flow of humanity as powerful
as an ocean riptide. Finally, at the head of one par-
ticularly crowded alley, Indy leaps up onto a wall for
a clearer view. Whatever he sees gives him an idea and
he cuts between two buildings rather than following
the basket.
EXT. DESERTED ALLEY - DAY
Two Bad Arabs come running down the Alley with the basket
between them. Suddenly, Indy's whip flashes out sending
both Arabs and the basket tumbling. Indy steps into view,
his .45 trained on the sprawled Arabs, and looks at the
basket. The top has come flying off and the contents have
clattered onto the cobblestone: inside is not Marion,
but a load of contraband pistols, rifles and ammo. Indy is
advancing on the trembling Bad Arabs with an ugly look
when suddenly he hears Marion scream around the corner.
EXT. DESERTED SQUARE - DAY
Indy rounds the corner and is immediately driven back by
machine gun fire. Taking cover, he gets quick, inter-
mittent glimpses of this scene: At the far corner of the
large, deserted square is a canvas-covered truck. Two
Bad Arabs are hurrying toward is with a large rattan bas-
ket between them, Marion screaming inside. A German Agent
is covering their retreat with a machine gun from the cab
of the truck. Indy runs up to see the rattan basket
being heaved into the back of the truck.
EXT. BACK OF THE TRUCK - DAY
What Indy cannot see is that the basket lands among an
ominous load of German munitions, dynamite and firearms.
The truck immediately peels out.
EXT. DESERTED SQUARE - DAY
The German Agent has stopped firing in order to drive. He
floors it, aiming for a street at the corner of the square.
Indy uses the lull to take careful aim at the German Agent's
profile and fire off three careful shots. The German Agent
is hit, blasted dead against the steering wheel. The speed-
ing truck swerves, hits a wall, rolls over and explodes in
an enormous, multilevel eruption as its contents ignite.
Several surrounding buildings are leveled.
Indy, blown back across the square, looks on, astounded and
horror-stricken.
INDY
Marion.
INT. ARAB BAR - NIGHT
A dark, smoke-filled den on iniquity. The patrons,
almost all fearsome Arabs, sit in small shadowy groups
around the room. Indy stands at the bar finishing off
a fifth of bourbon. He is drunk. The ARAB BARTENDER
places a new bottle of expensive bourbon in front of him.
Indy eyes is queerly.
ARAB BARTENDER
The gentleman in the corner sent it.
He would like you to join him.
INDY
(doesn't even look)
Too bad. I'm drinking alone.
The Arab Bartender does a take, looking at the three,
tough GERMAN HENCHMEN who have surrounded Indy from out
of the smoke, their hands stuffed in bulging trench coat pock-
ets. Indy notices them now with a bleary glance. He
decides he's in no shape to kill or be killed and moves
with them across the room, taking his bottle with him.
The Arab patrons take this in and mind their own business.
The occupant of the smoke-shrouded corner table becomes
visible only as Indy - reaches there: it is Emile Belloq.
He is drinking wine.
INDY
Belloq.
BELLOQ
Good evening, Dr. Jones.
INDY
I ought to kill you right now.
BELLOQ
It was not I who brought the girl
into this dirty business.
Indy knows its true; that's what's tearing him up.
BELLOQ
Sit down, please, before you fall
down. We can behave as civilized
people. I'm afraid it will be your
last opportunity.
Indy sits, glancing at the German Henchmen, who settle
nearby, just out of earshot.
INDY
Not a very private place for a murder.
BELLOQ
(looking around)
These Arabs will not interfere in
the white man's business. They do
not care if we kill each other off.
(takes a sip of wine, refers to it)
Terribly difficult finding a decent
vintage here. You were quite vig-
orous in Shanghai. Unfortunately,
our friend the Wild Boar had taken
the precaution of making several
copies of the piece.
Indy registers this as he takes a drink. Belloq watches
him with disdainful amusement.
BELLOQ
How odd that is should end this way
for us, after so many...stimulating
encounters. I almost regret it.
Where shall I find a new adversary
so close to my own level?
INDY
Try the local sewer.
BELLOQ
I know you despise me. We always
hate in others that which we most
fear in ourselves. And you and I
are very much alike.
INDY
Now you're getting nasty.
BELLOQ
We have always done the same kind of
work. Our methods have not differed
as much as you pretend. I am a sha-
dowy reflection of you. But it would
have taken only a nudge to make you
the same as me, to push you out of
the light.
There's a certain amount of truth to this; the recognition
of it flickers across Indy's bleary eyes. Belloq sees
it there.
BELLOQ
You know it to be true! How nice.
And how ironic the timing.
Belloq leans forward, eyes shining, voice suddenly different.
BELLOQ
Do you realize that the Ark is?
(very intense)
It's a transmitter. A radio for
talking to God! And now it is
within my grasp.
INDY
What about your boss, Der Fuhrer?
I thought he was waiting to take
possession.
Belloq glances into the gloom at the German Henchmen.
BELLOQ
(quieter)
When the time is right. When I am
finished with it.
INDY
I hope your friends are patient.
Dangerous work, Belloq.
BELLOQ
Yes. Very. You may consider your-
self fortunate that your involve-
ment concludes here.
INDY
Tell me, did you get away with
the idol?
BELLOQ
(negative)
I was lucky to get away with my
life. The Hovitos proved quite
narrow-minded about the whole matter.
Indy takes a drink.
INDY
You know, if it's God you want to
talk to, maybe I can arrange it.
BELLOQ
(smiles)
You have not changed. But, please,
do not reach for your weapon until
you are ready to die.
The front door of the bar slams open and all nine of
SALLAH'S CHILDREN scamper in and over to a surprised
Indy. Two of the smallest hop into his lap.
LITTLE SON
Uncle Indy, we have been looking
for you.
LITTLE DAUGHTER
Come home now, Uncle. Hurry!
Suddenly the Arab patrons of the bar take an intense in-
terest in the situation, shifting their weapons.
INDY
Yes. Yes, I'll come now.
Indy stands up. The German Henchmen and poised. Belloq
eyes the Arab patrons and signals for the Henchmen to relax.
BELLOQ
Next time, Indiana Jones, it will take
more than children to save you.
The children usher Indy out.
INT. SALLAH'S TRUCK - IN FRONT OF ARAB BAR - NIGHT
Indy climbs into the cab of Sallah's truck with a smiling
Sallah as the children pile into the back. Sallah pulls out.
SALLAH
I thought we would find you there.
(indicating the kids)
Better than the United States Ma-
rines, eh?
INDY
(nods)
Thanks you.
(grave)
Marion's dead.
SALLAH
Yes, I know. I am sorry.
(pause)
More reason than ever to beat the
bastards.
(he touches Indy)
Life goes on, Indy.
(indicates the kids again)
There is the proof.
Indy looks back there, nods.
SALLAH
I have much to tell you, Indy.
INT. DINING ROOM - SALLAH'S HOUSE
Fayah brings in a tray of food and puts it on the table.
The bowl of dates is in one corner. As Fayah leaves the
room, the Monkey slips out of Sallah's lap and disappears
under the table. Indy leans over the food tray, his hand
hovering over the dates. But he chooses some cheese and
bread instead.
INDY
And they made the calculation in
the map room?
SALLAH
(nods vigorously)
This morning. Belloq and the boss
German, Shliemann. When they came
out of the map room, we were given
a new spot in which to dig...out
away from the camp.
INDY
(resigned)
The Well of the Souls.
Sallah nods, moves to the food. He picks up a date, then
changes his mind and drops it, taking a bunch of grapes
instead. Indy picks up a chicken leg in one hand and a
date in the other, his mind distracted. Fayah enters
the room just in time to see Indy flip the date high into
the air and try to catch it in his mouth. It bounces off
his chin and falls to the floor. Indy looks sheepishly at
Fayah. Fayah picks up the fallen date and puts it in the
dirty ash tray she is now removing. Amir speaks in a
slow, raspy voice without looking up.
AMIR
Come. Look.
The two men go and huddle over the old man. The Monkey
peeks up over the edge of the table at the array of food.
He picks up a date and disappears below the table. Amir
points to some markings on the lower part of the headpiece.
AMIR
This is a warning...not to disturb
the Ark of the Covenant.
INDY
Just want I need.
The Monkey's paw comes up over the edge of the table and
grabs another date.
INDY
How 'bout the height of the staff?
Did Belloq get it off of there?
AMIR
Yes...it is here.
Indy, nervous, goes back to the food tray, picks up another
date. When he turns back to the men, the Monkey's paw
grabs another date.
We see the headpiece in close-up on the table. Amir's crooked
fingers trace a line of markings along the bottom section
to the break in the piece.
AMIR
It says it is...ten jamirs high...
SALLAH
About seventy-five inches.
AMIR
Wait! I am not finished...
Amir's finger moves across the break as the markings con-
tinue on the sun medallion.
AMIR
(reading)
"And one jamir to honor the Hebrew
God whose Ark this is."
Indy, still holding the date, exchanges a long look with
Sallah.
INDY
You said their top section was blank.
Are you absolutely sure?
Sallah nods.
INDY
Belloq's staff is seven and a half
inches short. They're digging in
the wrong spot!
Sallah and Indy begin to laugh. Amir gives them a glance
and returns to his wine. Sallah leans over and kisses the
old man.
SALLAH
(to Amir)
A home run, my friend, grand slam!
(to Indy)
We have a saying--"A little luck is
better than much smartness." Indy,
pardner, you are very lucky fellow.
Indy hoots. Then he takes the data in his hand and flips
it high in the air. He opens his mouth to catch it, but
it doesn't come down. He has inadvertently thrown it into
a bowl of a hanging lamp. This makes the men laugh even
harder.
Indy goes over and picks up another date. He turns laugh-
ing to Sallah and doesn't see as the Monkey's paw comes up,
slowly, takes another date and begins to withdraw. Sudden-
ly the paw is stricken with palsy and the unseen Monkey
goes into its death throws. Sallah watches the paw as
though hypnotized. Finally the paw slips from sight and
we hear a solid THUMP! on the floor. Sallah walks around
the table and looks at the floor. The Monkey lies dead
among a mess of date pits.
Indy is in a happy world of his own. He throws his date
high in the air. He positions himself under it and waits
for it to drop in. Here it comes. Right on target. As
it's about to disappear into Indy's mouth, Sallah's hand
flashes in and grabs it. Indy looks mystified and disap-
pointed. Sallah motions toward the dead Monkey.
SALLAH
Bad dates.
EXT. DESERT ROAD - MORNING
Two old trucks come down a narrow mountain road and onto
the flat surface of the desert.
Further out into the desert, the one in the lead, Sallah's
truck, stops and the second one, Omar's truck, pulls up
beside it. There are half dozen Arab Diggers in Omar's
truck. Indy, dressed as an Arab, gets out of the cab of
Sallah's truck and moves over to confer with OMAR, another
old friend. They point off into the desert and reach some
conclusion. Indy gives him a pat on the back; Omar turns
off the road and drives into the desert with his workers.
Indy hops back in the cab of Sallah's truck with Sallah.
As they move down the road we see that the back of the
truck holds three other Arab Diggers.
EXT. RISE ABOVE THE TANIS DIGS - MORNING
Indy and Sallah are lying in classic shouting fashion at
the top of the rise looking down on the Tanis Digs. Down
behind them, Sallah's truck is parked with the three Arab
Diggers.
INDY
My God! They aren't kidding!
WHAT HE SEES. The Tanis Digs are laid out below like a
painting. Trucks, bulldozers, Arab workers and German
supervisors are everywhere. The excavations themselves
are extensive and somewhat random-holes have been dug
and then abandoned, foundations and passageways unearthed
and then deserted. Beyond the main digs, a crude airstrip
has been created. Sallah points to what appears to be a
mound of dirt with a hole in it near the center of the
activity.
SALLAH
There! That is the map room!
INDY
What time does the sun hit the map?
SALLAH
Just after eight.
INDY
We haven't got much time. Where are
the Germans digging for the Well of
the Souls?
Sallah points out into the desert a short way beyond the
main area of activity. The desert turns to sand dunes
out there, the surface undulating into the distance.
Several trucks and men are out there and a bulldozer is
lumbering noisily toward it.
INDY
Okay. Let's go.
EXT. THE TANIS DIGS - MORNING
Sallah's truck drives through the camp, one of the Arab
Diggers at the wheel. Indy and Sallah are in the back and
look just like the other two Arab Diggers. Sallah's
truck does behind a tent and when it appears on the other
side, Indy and Sallah are gone.
EXT. AMONG THE TENTS - MORNING
Indy and Sallah move stealthily among the tents. Indy car-
ries a smooth wooden staff almost seven feet tall. They
stop between two tents and look across a path at the en-
trance to the map room. What appeared to be a mound of
dirt is actually the roof on the ancient building. The
hole/entrance is a five-foot square skylight. Indy looks
around, then walks casually to the edge of the hole and
looks inside. Sallah joins him, producing a length of
rope from his robes. Indy drops the staff into the un-
seen map room as Sallah ties the rope around on oil drum.
When it's secure, Indy wastes no time disappearing down
it into the map room.
INT. MAP ROOM
Indy is down the twenty feet to the floor of the room in
seconds. He tugs on the rope and it immediately gets pulled
up. Indy looks around with real wonder and excitement.
The room is lovely, with elaborate wall carvings and fres-
coes, all lit by the bright stream of sunlight flooding
in from above. This beam of light leads Indy's eye to
the far end, and the room's truly remarkable feature: built
into the floor in meticulous relief is a miniature stone
model of the ancient city of Tanis. Already, the sunlight
has worked its way down the far wall and is edging onto
the miniature of the city. On the floor, to the skylight
side of the miniature, is an elaborate line created by
embedded mosaic tiles. The evenly spaced slots in the line,
each accompanied by a symbol of a time of year, are for the
base of the staff. Indy pulls the headpiece from his robes--
it has been welded together--and reaches for the staff.
EXT. ABOVE THE MAP ROOM - DAY
An extremely nervous Sallah has the gathered rope in his
hands and is trying to appear casual as he inches back to-
ward the oil drum. There is now a good bit of activity
going on up here.
JEEP GERMAN OS
Hey! You, the skinny one!
Sallah jumps about three feet. The JEEP GERMAN is standing
in an open space ten yards away looking at Sallah.
JEEP GERMAN
Yes, you. What are you doing there?
Sallah gestures his innocence.
JEEP GERMAN
Well bring that rope over here, you
cur.
The Jeep German starts back toward his major concern:
his jeep is stuck in some sand beyond the next tent.
Some Arab Workers are trying in vain to budge it. Now
another German has backed his truck up to it. Sallah
can think of nothing to do expect obey. With a worried
glance at the map room, be begins untying the rope from
the oil drum.
INT. THE MAP ROOM
Indy is examining the results of Belloq's work. Red paint
marks one of the miniature buildings in the layout and a
white calibrated tape has been strung from that building
back to a miniature of the map room. Now Indy begins ex-
amining the mosaic base line for the staff. Sunlight has
moves further down across the miniature.
EXT. IN THE CAMP - DAY
Sallah watches nervously as his precious rope is pulled
taut between the pulling truck and the stuck jeep. He
doesn't notice that he has chosen to stand next to a large,
steaming kettle of food until--
HUNGRY GERMAN OS
Bring us some of that!
He points to the kettle. Sallah looks frantically from
the rope, back to the skylight of the map room, to the
kettle of food.
HUNGRY GERMAN
Now, idiot!
Sallah picks up some serving pieces and gets to work.
INT. THE MAP ROOM
The moment has arrived. Even the tension of the circum-
stances cannot distract Indy from the purity of what he
is about to do. All his calculations are adjustments com-
plete, Indy takes the Staff of Ra and places it--CLINK!--
in the right depression on the base line. This is as active
and exciting a moment as any archeologist can dream of
and, at heart, that is exactly what Indy is. The sunlight
catches the very top of the headpiece and moves within a
fraction of an inch of the tiny hole in its sun.
The edge of the sunlight moving across the miniature city
is still a good two feet beyond the spot Belloq has settled
on. And now that line of light is broken by the shadow
of an ornate sun at the top of the staff.
Indy's face reflects his concentration. And then his
immense pleasure. He sees what he came for.
Out of the miniature city, one small building is being
lit by a tiny beam of sunlight in the center of the sha-
dow of the metal sun. And by some trick of ancient artis-
try, this one building responds to the sunlight like none
of the others. The golden light permeates it: it seems
to glow. The building is in a direct line with Belloq's--
all the Frenchman's other calculations were right--but it
is a foot and a half beyond it.
EXT. IN THE CAMP - DAY
Sallah, sweating profusely, has finished serving the line
of Breakfasting Germans and now heads back to replace the
kettle and get away.
HUNGRY GERMAN
Water. Bring us water.
INT. MAP ROOM
Indy is on his knees at the miniature city, a special tape
measure in his hand. Indy has the tape strung from Belloq's
mistaken spot to his own correct spot. He gets his reading,
leaps up and crosses to the erect staff. He pulls the head-
piece off the staff and hides it in his robes. He quickly
breaks the wooden staff in two and throws the pieces behind
a pile of debris. Then he moves quickly to beneath the
skylight.
INDY
(stage whisper)
Sallah.
(he waits, then louder)
Sallah!
More waiting. Nothing. Indy looks around for some alter-
native means of escape. The room doesn't offer any. He
looks up at the skylight again.
INDY
(loudest)
Sallah!
A long pause. Then something comes down. A makeshift
rope. Really just a bunch of clothing tied together--
tunics, robes, pants. But what we see first and most
prominently, the first section of Indy's escape rope, is
a bright Nazi flag. Indy beams and climbs.
EXT. ABOVE THE MAP ROOM - DAY
Indy sticks his head out the skylight, sees it clear
and flops his body out. Sallah, crouching behind the
oil drum, immediately starts pulling in the makeshift
rope. Sallah stuffs the rope in the oil drum and the
two men begin waking toward some tents.
HUNGRY GERMAN OS
Hey, you! More water over here!
Sallah glances at Indy, Then hurries back in that direc-
tion. The Hungry German focuses on Indy.
HUNGRY GERMAN
Why aren't you at the digs? Come
here!
Indy bows in wild subservience and hurries off in the
opposite direction.
HUNGRY GERMAN
(yelling after him, irritated)
No, dummkopf, I said come!
EXT. BETWEEN TWO TENTS - DAY
Indy hustles between the tents. Up ahead, two German
Officers stop to talk, blocking his exit. He moves a-
long the side of one of the tents until he finds an
opening and slips inside.
INT. THE TENT
Indy finds himself in a tent set up for rather comfort-
able living. He has just started to cross it when he
hears a loud, excited grunting. He turns toward the sound.
In the corner, tied to a chair and gagged is Marion.
Indy rushes to her, snatches the gag from her mouth and
embraces her. They kiss, deep and long.
INDY
I though you were dead.
MARION
They were throwing me around like
a rag doll.
INDY
They must have switched baskets.
Thank god for that! Bless those
bastards. Have they hurt you?
MARION
No. Not since I got here. They
just asked about you--what you knew.
The Frenchman's got the hot's for me.
I've been playing that along. Oh,
Indy, get me out of here.
Indy pulls out a knife and then stops suddenly, thinking.
MARION
What's wrong?
INDY
(putting the knife away)
I have to leave you here for a little
while. I know where the Ark is. If
I take you out of here they'll start
combing the place for us.
MARION
(louder)
Cut me loose!
INDY
Keep your voice down.
MARION
(screaming)
I said get me out of--
Indy pops the gag back in her mouth. Her eyes widen in
fury and she grunts obscenities at him.
INDY
Look, you don't know how glad I am
to see you. And I don't like do-
ing this. But the whole thing will
be shot if you don't just sit here
quietly. They haven't hurt you in
the last twenty-four hours, they
aren't going to start now. I'll be
back to get you in no time.
He kisses her forehead, jumps up and hurries out of the
tent.
EXT. SAND DUNE OUTSIDE DIGS - DAY
With the digs behind them, Indy and Sallah run up to the
ridge of the dune and over the top. At the bottom of the
far side, Omar's truck is parked. Omar and his men are
waiting.
EXT. DIFFERENT DUNE - DAY
This new spot gives Indy a higher, better view of the
whole scene. Indy is using a surveyor's instrument to
take a reading--
WHAT HE SEES. Looking through the instrument, Indy gets
a line from the map room through the site where the Nazis
are digging in the dunes to a spot several dunes over.
We focus on that virgin spot of well-hidden sand as--
INDY
There!
EXT. INDY'S DIG - DAY
Omar's truck is parked at the stop just viewed from afar.
Dunes rise on either side. One of Omar's men has been
posted as a lookout up on a ridge. Everybody else--Indy,
Sallah, Omar, and his men--have begun digging for the
Wells of the Souls.
DISSOLVE TO:
SAME SCENE, NIGHT. They continue to dig furiously, all
of them drenched in sweat. The hole has grown but this
is slow, back-breaking work.
INT. COMMAND TENT - TANIS DIGS - NIGHT
Belloq, SHLIEMANN the ranking Nazi, and Shliemann's Aide,
GOBLER, come into the tent, which is full of charts and
maps, drawings of the Ark, radio equipment, liquor and
food. The men have been out digging for the Well all
day. They are tired, discouraged, testy. In all matters,
Gobler shows his alliance with Shliemann against Belloq
with small looks and body language. The Frenchman has
disappointed them and he is feeling the isolation of a
scapegoat. Belloq gets himself a drink as Shliemann towels
off his face.
BELLOQ
I cautioned you about being prema-
ture with that communiqué to Berlin.
Archeology is not an exact science.
If does not adhere to time schedules.
SHLIEMANN
The Fuhrer is not a patient man. He
demands constant reports and he ex-
pects progress. You led me to be-
lieve--
BELLOQ
Nothing. I have made no promises.
I said only that it looked very
favorable. Perhaps the Ark will
still be found in an adjoining
chamber. Based on the informa-
tion in our possession, my cal-
culations were correct. Perhaps
some bit of evidence still eludes
us. Perhaps
GOBLER
Perhaps the girl can help us.
Belloq shoots him an angry look.
SHLIEMANN
My feeling exactly. She was in
possession of the original piece
for years. She may know much.
(really evil)
If properly motivated...
BELLOQ
I tell you, she knows nothing use-
ful.
SHLIEMANN
I'm surprised to find you squeamish.
That is not your reputation. But
it needn't concern you. I have the
perfect man for this kind of work.
Shliemann signals Gobler, who steps outside the tent a
moment, calls someone and then reappears. Belloq looks
warily at the entrance. After a moment Belzig enters,
reeking villainy. When his eyes find Shliemann, his
superior, he snaps a crisp "Heil, Hitler!" at him, hold-
ing his palm rigid a long time, exposing a burned scar in
the prefect shape of the sun medallion.
EXT. INDY'S DIG - NIGHT
In the eerie conjunction of moonlight and torchlight, Indy
and the other men step back in awe of their discovery:
there, flush with the bottom of their pit, is a heavy
stone entry door to an underground chamber. Special pry-
ing tools are produced. With two men assigned to each of
the two long tools, they work in unison to open the vault.
They open it a foot and the other men rush in to flop the
heavy door completely open. Down inside, only blackness.
The men quickly prostrate themselves around the edge of
the entry to look inside. Indy and Sallah each take a
torch and hold them down the hole.
WHAT THEY SEE. The Well of the Souls is a spooky chamber
thirty feet deep. The walls are covered with hieroglyphics
and carvings. The roof is supported intermittently by
stone pillars, the closest of which hits the roof very near
the entry hole. The Well is quite large; as Indy and Sallah
wave their torches, more and more of the room is revealed.
Now the far end of the chamber comes into view. There is
a stone altar down there and on this elaborated carved
platform is a stone chest, big enough to enclose the Lost
Ark and protect it from the ravages of time. This altar
appears to be the only place on the floor of the Well that
is not covered by a strange, dark carpet of some kind.
INDY
The Ark must be in that stone case.
What's that gray stuff all over the
floor--
He breaks off realizing exactly what that carpet is. He
blanches. Indiana Jones blanches.
Indy drops his torch to the floor of the Well. This is
answered by the most horrific HISSING imaginable.
WHAT HE SEES. That think dark carpet is moving. It's
alive. It's thousands and thousands of deadly poisonous
snakes--Egyptian asps. And the only thing that seems ca-
pable of avoiding this venomous ground cover is the altar.
The snakes ebb and flow near it, but never encroach on it,
as though repelled by some invisible force.
Indy shakes his head and talks to himself.
INDY
Why snakes? Why did it have to be
snakes? Anything else.
After a moment of this, he stops. He gathers his energy
and resolve and gets back to the task.
SALLAH
Asps. Very dangerous.
Where Indy's torch had landed is a circle of snake-free
floor. The snakes hate the flame; they stay away.
INDY
Lots of torches. And oil. I
want a landing strip down there.
INT. THE WELL OF THE SOULS
Fifteen torches have been dropped to the floor of the
chamber, combining to make a good-sized clear zone. Smoke
begins to fill the room. Several canisters of oil have
been lowered into this space. Now, a large wooden crate
is lowered slowly by rope. Rope handles are attached to
each end of the crate.
Up at the hole, Indy gives Sallah a reassuring pat, takes
a breath, and swings carefully onto a rope hanging from
the hole. Despite his care, he swings a bit and his feet
hit the stone pillar which is so near the entry. Surpris-
ingly, the pillar actually moves a bit, showering a light
rain of crumbled stone to the floor below.
Indy lands on the floor of the Well. He looks at the altar
over a sea of undulating death. He picks up an oil canister
and splashes two parallel lines of oil and lights them. A
path six feet wide begins to open to the altar. Behind
Indy, Sallah comes quickly down the rope.
We begin to INTERCUT all the action in the Well from here
on with insert shots of the snakes outside the flames.
Snakes and snakes. We see: snakes piled and entwined six
inches deep; mother snakes laying snake eggs; snake eggs
hatching little snakes; snakes cannibalizing other snakes.
INT. MARION'S TENT
Belloq has been talking to the still-bound Marion. He
has removed her gag. He is impatient, angry, uncomfort-
able. Caught between two forces.
BELLOQ
Believe me, you make a mistake. If
you would just give me something to
placate them. Some bit of informa-
tion.
MARION
I swear to you, I know nothing more.
I have no loyalty to Jones. He's
brought me only trouble.
He wants to believe her.
BELLOQ
I cannot control them.
Marion's frightened look shifts suddenly to the entrance
of the tent. There are new arrivals there--Shliemann,
Gobler and Belzig. Belzig carries a black leather case.
He steps forward and smiles at Marion.
BELZIG
We meet again, Fraulein.
EXT. INDY'S DIG - JUST BEFORE DAWN
The sky is just beginning to lighten over the dunes to
the east, making dangerously obvious the thin column of
smoke rising from the entrance to the Well. Omar and his
men are peering through the smoke down into the Well.
INT. THE WELL OF THE SOULS
Indy and Sallah are on the altar. Pushing together with
all their strength, the heavy stone top of the protective
chest begins to slide away. Indy and Sallah exchange slightly
wary but very excited looks, then continue to push. As the
Ark begins to be exposed, the air seems to almost vibrate,
to become electrostatically charged. We hear what sounds
like a low HUM. The sea of snakes around the altar draws
back further from this presence.
As the top of the stone chest is pushed completely off and
slams down beside it, we see THE LOST ARK OF THE COVENANT.
It is awesomely beautiful, breathtaking. 4 feet long,
2.5 feet wide and 2.5 feet high. It's height, however, is
increased by the two sculptured gold angels mounted facing
each other on the top. Though the body of the Ark is aca-
cia wood, it has been overlaid with gold. An elaborate
gold crown surrounds the top edge and gold carrying rings
are attached to each corner.
Sallah is mesmerized by the sight. His hand starts to
reach out and touch one of the angels, but Indy grabs it.
INDY
Don't touch it! Never touch it!
The wooden crate stands open next to the stone chest. Now
Indy extracts the wooden poles from its rings and begins
fitting them through the rings in the Ark. This takes
some maneuvering by the two men, but soon they are able
to lift the Ark clear of the stone chest and into the
wooden crate. They extract the poles, fasten the top of
the crate and stick the poles through the rings of the
wooden crate. They start back toward the space under the
hole.
The fire strips have begun to dwindle, as have some of
the torches. The snakes move slowly in toward the clear
spaces. Indy and Sallah eye them nervously as they hurry
along with their heavy load. Under the hole, they hurried-
ly attach ropes to the wooden crate and it is pulled up.
Indy's concentration is on the tide of snakes.
INDY
Hurry up! Why did it have to be
snakes?
Sallah takes the next rope and climbs quickly out of the
Well. Indy has picked up a torch and now throws it at a
pool of snakes who are too close for his comfort. He turns
and takes hold of the exit rope. He gives it a first tug
and it falls down into the Well, landing partly beyond the
ring of fire where is instantly disappears in a tangle of
angry, hissing asps. Indy looks up at the hole.
INDY
What the--
Smiling down at him from the perimeter of the entry are
Belloq, Shliemann and Gobler.
BELLOQ
Why, Dr. Jones, whatever are you
doing in such a nasty place?
Belloq and the Germans laugh.
INDY
Why don't you fellows come down
here? I'll show you.
BELLOQ
No thank you, my friend.
(he glances around him)
I think we are all very comfortable
up here.
EXT. INDY'S DIG - DAWN
Sunlight is flooding this tableau: Sallah, Omar and his
men are being held at bay by ten armed Nazis. The wooden
crate sits safely nearby. Belzig and another Nazi have
the gagged Marion held in their rough grasp.
BELLOQ
(down to Indy)
After all these years, it is most
considerate of you to aid me in
this way.
As Belloq speaks, Shliemann exchanges a look with Belzig.
Belzig smiles and takes the gag from Marion's mouth.
INT. WELLS OF THE SOULS
Shliemann smiles down at Indy.
SHLIEMANN
I'm afraid we must be going now, Dr.
Jones. Our prize is awaited in Berlin.
But I do not wish to leave you down in
that awful place...
(he give a sign)
...all alone.
Belzig and the Nazi move Marion to the hole and, to Belloq's
surprise, push her in. Marion falls thirty feet screaming.
Indy drops his torch, braces, and catches her! Her weight
knocks him to the ground, almost into the snakes. She
looks around at the snakes, clinging to him more desper-
ately as he struggles to his feet trying to unload her.
MARION
Don't put me down!
Up at the hole, there's plenty of dissension.
BELLOQ
The girl was mine!
SHLIEMANN
She is of no use to us. Only our
mission for the Fuhrer matters.
Shliemann glances meaningfully around at the other Nazis.
SHLIEMANN
I wonder sometimes, Monsieur, if you
have that clearly in mind.
Belloq feels how much he is the outsider, his own vulner-
ability. He backs down with the wisdom of survival. He
turns to look down at Indy and Marion. His manner is gal-
lant.
BELLOQ
Good-bye, mademoiselle.
(a pause, then with respect)
Indiana Jones...adieu!
Belloq and the others step back from the hole and unseen
Nazis slam the heavy stone door into place. Marion screams.
Her scream is accompanied by--
A huge WHOOSH! as air is sucked out and the chamber is seal-
ed. Half of the torches still burning go out with the sound.
The remaining torches continue to extinguish at punctuating
intervals throughout the following action and the snakes
immediately flood into the newly-darkened spaces. Indy
puts Marion down and snatches up two burning torches. He
hands one to Marion.
INDY
Don't panic. There's plenty of time
for that later. Wave that at any-
thing that slithers.
Indy holds his torch out like a lantern and begins a slow
360° turn, his eyes peering into the gloom, examining every
inch of wall and ceiling.
MARION
What are you doing?
INDY
Just watch the floor.
Reminded of the encroaching snakes, Marion waves her torch
at the nearest edge of their circle. She looks faint. In-
dy continues his slow turn.
MARION
Whatever you're doing, do it faster.
INDY
(he spots something)
There!
His head whips around, looking at the pillars around the
room. He sees what he wants. He grabs one of the oil
canisters, looks back to the spot on the wall he's chosen
and splashes oil on the floor in that direction, then lights
it. A path opens toward that wall.
INDY
Come on!
Marion is frozen in her spot. Indy drags her after him.
He splashes oil the rest of the way to the wall. It lights
and Indy pulls Marion over to the wall. He pours the re-
maining oil in a circle around them, creating a safe zone
there.
INDY
Stay here!
MARION
(grabbing him)
Where are you going?
INDY
I'll be back in a minute. We're
going through this wall.
Marion looks at the wall, which looks like all the rest
to her. She thinks he's crazy.
INDY
Just keep your eyes open and get
ready to run. No matter what happens
to me.
MARION
(panicked)
What do you mean?
Too late. Indy runs back through the path of flames to
the center of the room. Snakes strike as his flying heels.
Indy reaches the base of the pillar which he touched briefly
on his original descent. He uses his torch to clear
away the scattered snakes climbing on it, then pulls out
his whip. He draws it back, then wraps is solidly around
the pillar 15 feet up. With the torch in his mouth, he
begins climbing the pillar. It moves ominously under his
weight.
The last two torches still burning on the floor go out.
Now the only light in the chamber is provided by the torches
held by Indy and Marion and the dwindling oil flames. Snakes
move in and surround the base of Indy's pillar. The path
between Marion and the center of the room is overrun. The
circle of flame around Marion is dying down. She looks be-
yond it with terror-widened eyes, then up through the in-
creasing smoke at the distant Indy.
Near the top of the pillar, Indy's hands strain along his
taut whip, which he has moves higher. A snake slithers
into view there, inches from Indy's straining face. Indy
turns his head so the torch in his mouth can burn it. The
snake falls from the pillar. Indy's torch is dwindling.
Indy works his body around so that he in on the side of
the pillar away from Marion. The pillar moves, showering
dust. Indy looks at the chamber wall five feet away, takes
a breath and swings his legs up against it. He is now
braced between pillar and wall.
MARION OS
(screaming)
Where are you?!
Snakes are moving in force up the pillar toward Indy's
dwindling torch. Indy grasps the pillar for dear life,
grimaces with exertion and pushes against the wall with
all he's got. The pillar begins to break loose of the
ceiling, then stops. Indy's eyes are on the torch. It
is just a spot of flame now. Snakes are sliding up to-
ward his hands. Indy again pushes against the wall and
the torch falls out of his mouth.
The pillar goes! In the dim light, we see it fall like
a tree directly at Marion. Indy rides it down. The top
hits the wall three feet from a cringing Marion and smashes
through to a black chamber beyond. Indy flies off into
the darkness. Gone. Marion clutches her torch at the
black hole.
MARION
Indy! Where are you?! Please Lord!
There is a moment that seems an eternity, then Indy ap-
pears like an apparition out of the void.
INDY
Come on!
He grabs her and helps her over the remains of the wall
into--
INT. THE CATACOMBS
The winding string of connected chambers is revealed to
them only a few feet at a time as their torch lights the
way.
MARION
The snakes...are they here?
INDY
I guess not. I think I'd be dead.
MARION
Do you know where you're going?
INDY
Absolutely.
MARION
Thank god. Where?
INDY
Out.
They round a corner and flush a covey of bats. Marion
screams.
INDY
Don't do that. It scares me.
Marion gives him a look. They round a corner and begin
a walk through a maze of chambers that present for their
inspection: moldering mummies and stacked sarcophagi;
a room decorated with a thousand human skulls; a wall
crawling with huge scarab beetles. Marion is quite
naturally a nervous wreck; she jumps when Indy grabs her
suddenly and points.
INDY
Look!
WHAT THEY SEE. There, coming through the crack in the
corner of the next chamber, is white blessed sunlight.
EXT. THE TANIS DIGS - NEAR AIRSTRIP - DAY
Indy and Marion peek out into the light from the shadows
of an abandoned excavation. Before them is the improvised
airstrip serving the digs: a crude runway, a tent supply
depot, two fuel tank trucks. Down by the fuel trucks a
German Mechanic is looking skyward. Now Indy and Marion
look there too, drawn by the roaring sound of--
A Flying Wing, which is circling over the digs in prepar-
ation to landing.
Now a new figure approaches the German Mechanic. It is
Gobler; he yells to the mechanic, indicating the plane.
GOBLER
Get it gassed immediately! It has
an important cargo to take out!
In the distance, the Flying Wing lands and rolls toward
the men. Gobler spins and heads back toward the main camp,
which is hidden from view by a rise. Indy and Marion watch
him go.
INDY
When the Ark gets loaded, we're al-
ready going to be on that plane.
The Flying Wing rolls up into the space near the fuel trucks.
The German Mechanic puts blue blocks in front of the tires
as the engines continue to roar.
Indy and Marion run in a crouch to a hiding spot closer to
the plane, near the supply tent. Suddenly, a Second German
Mechanic appears behind them. He is as surprised as they
are, but recovers quickly and swings a big monkey wrench
at Indy. Indy grabs the swinging arm and the two men tum-
ble out into the open, wrestling. Marion remains hidden,
moving fast among the crates.
The first German Mechanic, who is just pulling the fuel hose
from the tank truck to the plane, sees the combatants and
runs to help his countryman. He is almost upon them when
Indy puts the Second German away with a devastating left--
right--left combination. He turns to find the first German
Mechanic flying at him. The roll toward the rear of the
Flying Wing and its lethally spinning reversed propellers.
In the cockpit of the Flying Wing, the Pilot has been fid-
dling with his gauges just prior to shutting off his engines.
Now he notices the fight going on outside.
The fist fight between Indy and the German Mechanic has taken
on a new stomach-tightening dimension. The men are fighting
and flailing in and out between the spinning props at the
back of the plane's wings. Each man comes within inches of
becoming instant mincemeat.
The Pilot slides away the top of his cockpit and stands up.
He pulls a Luger from his side and points it, waiting for
a clear shot at Indy. The German Mechanic kicks Indy away
from him and the Pilot aims his pistol. Suddenly, Marion
appears behind the Pilot, standing on the opposite wing,
and bashes him over the head with one of the blue blocks
that was holding the tires. The Pilot drops down into
the cockpit, his body falling on the throttle. The engines
roar louder, revving up. The plane begins to roll, rotat-
ing around its one still-blocked set of tires. Marion grabs
onto the cockpit to keep from slipping into the props. She
bends into the cockpit, trying to pull the Pilot's body off
the throttle. No luck. She grimaces and climbs inside.
Her shoulder bumps the top of the cockpit; it slides tight-
ly shut above her.
Under the moving wing, Indy delivers a knockout right cross
to the German Mechanic which sends him staggering back to-
ward a roaring propeller. Indy's grimace registers the man's
demise and a fine mist of blood wafts toward him. Indy
spins toward the sound of crumpling metal and sees--
The other top of the Flying Wing slice into a tank truck.
The airplane fuel inside floods out onto the pavement,
surrounding the plane. Indy back pedals away from the plane,
his eyes searching the scene for Marion. Suddenly, he is
shocked to see her in the cockpit. He runs toward her,
skidding through the gasoline.
INDY
Get out! Get out!
Marion is struggling with the top of the cockpit. She
can't budge it. She's trapped.
EXT. THE COMMAND TENT - DAY
Three Armed Nazis stand guard around the wooden crate con-
taining the Ark. It is sitting near the flopped-open en
trance to the Command Tent and there is furious activity
going on here. Belloq, Shliemann, Gobler, Belzig and as-
sorted Aides are packing up all the papers and personal
items in preparation for a hasty departure.
A large crowd of Arab Diggers is milling about among the
tents. They all want to get a look at the Ark. Sallah is
among them. All at once, there is a earthshaking explo-
sion. Al eyes turn toward the rise that hides the air-
strip. A huge fireball floats into view over there. Every-
one starts running toward it. Shliemann yells at Belzig
and the Armed Nazis.
SHLIEMANN
Stay with the Ark!
EXT. THE RISE ABOVE AIRSTRIP - DAY
Almost all the Arabs and Germans in the digs have congre-
gated here and are staring at the burning remains of the
Flying Wing. Belloq and Shliemann arrive just as the sec-
ond fuel truck blows up. The concussion knocks many of
the observers flat. Belloq, Shliemann and Gobler watch
the scene in alarm.
SHLIEMANN
Sabotage!
BELLOQ
We must get the Ark away from this
place immediately!
SHLIEMANN
(to Gobler)
Have it put on the truck. We'll fly
out of Cairo.
Gobler snaps his heels, turns to go.
SHLIEMANN
And Gobler--
(Gobler stops)
-- I want plenty of protection.
Gobler nods and runs off. Shliemann heads back toward camp.
Belloq hesitates a long moment, studying the burning wreck-
age with an odd, suspicious look. Finally, he turns and
leaves, passing a nearby stack of barrels. When he has
passed, Sallah appears from among the barrels. He searches
the crowd for his people and starts a broken field run along
some tents to avoid a group of Germans and is running flat-
out when someone sticks out a leg and sends him flipping.
Sallah, dust all over his face, looks angrily toward the
concealed culprit. At once, a flashing white grin splits
his darkened face. Indy and Marion, splotched with soot
and oil, are hiding in the flap of a tent. Sallah runs in-
to their arms and the three embrace warmly. When they break--
SALLAH
Holy smoke, my friends! I am so
pleased you are not dead.
MARION
Us too.
SALLAH
(suddenly remembering)
The Ark! They're taking it on a
truck to Cairo.
INDY
Where is it?
Sallah gestures to follow and all three run off stealthily
through the mostly deserted camp.
EXT. AMONG THE TENTS - DAY
Sallah, Indy and Marion run into a hiding spot behind some
water barrels near the Command Tent. They peek out at this
activity--
In the big space near the Command Tent is parked an open
German staff car; inside is a Blond Driver and an Armed
Guard. Directly behind it is a canvas-topped troop truck.
At this moment, Belloq and Shliemann are supervising the
careful placement of the crated Ark in the back of the
truck. When it is securely placed inside, we hear an om-
inous marching sound and Nine Armed Nazis appear at a
trot from between some tents and climb into the back of the
truck with the Ark.
Behind the water barrels, Sallah and Marion exchange hap-
less looks, But Indy just concentrates on--
The scene by the truck: Belloq and Shliemann are about to
climb into the front staff car when they pause to check out
the final component of the convoy. Rolling into place be-
hind the truck is another open staff car. But this one is
special--mounted in the back is a big, black machine gun,
manned by a Gunner. At the wheel of the car is Gobler and
next to him sits Belzig.
Sallah and Marion look at Indy. Belloq and Shliemann climb
in the back seat of the front car and the caravan pulls
out. Indy watches it go, thinking hard.
INDY
You two get back to Cairo quick and
get us transportation to England--
a plane, a ship, anything.
MARION
What about you?
INDY
I'm going to get that truck. I'll
meet you at Omar's. Be ready for me.
Sallah nods. Marion looks at him like he's nuts. Indy jumps
up, looks around desperately.
MARION
How are you going to get that truck?
INDY
(still searching)
I don't know. I'm making this up
as I go.
He runs away between two tents.
EXT. AT THE EDGE OF THE DIGS - DAY
From among the tents, Indy suddenly bursts into view, hap-
pily astride a magnificent white Arabian stallion. He gal-
lops off across the desert.
EXT. THE DESERT (VARIOUS SHOTS) - DAY
Indy cuts cross-country avoiding the road the convoy has
taken. He leaps gullies, climbs dunes, slides down slopes.
Soon the convoy comes into view far below him. He tears
along a parallel ridge, like an Indian shadowing a wagon
train.
EXT. DESERT ROAD - DAY
The convoy is entering rougher country. The narrow moun-
tain road we've seen earlier ascends ahead. To the side
of the road are tall boulders. Suddenly, Indy shoots out
from between two rocks and rides directly for the truck.
The Armed Nazis in the back of the truck can see nothing
because the canvas hides their view. But Gobler, Belzig
and the Gunner in the rear staff car have a brief line on
him. Belzig points and the Gunner fires away and Indy, the
bullets kicking up sand near Indy's horse.
The Armed Guard in the cab of the truck leans out to see
what's happening. Indy has been riding alongside. Now
he stands on the horse and leaps to the cab. In a second,
he has flipped the Armed Guard out of the truck. He slides
into the cab and begins grappling with the Truck Driver.
The Truck Driver tries to hit the brakes, but Indy kicks
his foot away and floors the gas pedal. The truck doubles
its speed and shoots onto the steep mountain road.
EXT. MOUNTAIN ROAD - DAY
The Blond Driver of the front staff car sees the truck move
up on him in the rear view mirror and speeds up. Belloq,
Shliemann and the Armed Guard in the car twist around to
look at the struggle in the truck. The Blond Driver begins
what will be a continuing preview of the twists in the road.
He turns his wheel sharply and takes the lead car around
a bend.
In the cab of the truck, Indy and the Truck Driver stop
their fight temporarily and cooperate in turning the steer-
i