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1.
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FADE IN:
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1 EXT. PERU - HIGH JUNGLE - DAY 1
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The dense, lush rain forests of the eastern slopes of the
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Andes, the place known as “The Eyebrow of the Jungle”.
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Ragged, jutting canyon walls are half-hidden by the thick
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mists.
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The MAIN TITLE is followed by this:
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PERU
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1936
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A narrow trail across the green face of the canyon. A group
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of men make their way along it. At the head of the party is
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an American, INDIANA JONES. He wears a short leather
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jacket, a flapped holster, and a brimmed felt hat with a
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weird feather stuck in the band. Behind him come two
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Spanish Peruvians, SATIPO and BARRANCA. Bringing up the
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rear are five Yagua INDIANS. They act as porters and are
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wrangling the two heavily-packed llamas. The Indians become
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increasingly nervous. They speak to each other in bursts of
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Quechua. The American, who is known to his friends as Indy,
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glances back at them.
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BARRANCA
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(irritated)
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They’re talking about the Curse
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again!
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He turns and yells at the Indians in Quechua, his anger
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giving an indication of his own fears. The party reaches a
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break in the canyon wall and takes the trail through it.
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When they emerge, their destination is revealed to them in
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the distance. Beyond a thick stand of trees is the
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vegetation-enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS,
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2000 years old.
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The entire party is struck by the sight. The Indians,
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terrified now, chatter away. Suddenly the three at the back
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turn and run, dropping their packs as they go. Barranca
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yells at the fleeing Indians and pulls his pistol out. He
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starts to raise his arm to aim but Indy restrains it in a
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muscular grip.
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INDY
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No.
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2.
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Barranca looks evilly at Indy’s hand upon him. Indy
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releases him and smiles in a friendly way.
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INDY
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We don’t need them.
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Satipo watches this confrontation with some concern.
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BARRANCA
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I do not carry supplies.
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INDY
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We’ll leave them. Once we’ve got
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it, we’ll be able to reach the
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plane by dusk.
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He turns back to the trail. Satipo gets the two remaining
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Indians moving behind Indy. Satipo and Barranca then have a
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fast, silent communication: Barranca indicates his desire
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to slit Indy’s throat; Satipo gives him a look that says
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“Be patient, you idiot”
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2 EXT. THE APPROACH TO THE TEMPLE 2
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The party fans out to fight their way through the entwined
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trees that guard the temple. Visibility is cut to five feet
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in the heavy mist. Satipo extracts a short, native dart
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from a tree and examines the point gingerly.
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SATIPO
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(showing Indy)
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The Hovitos are near. The poison is
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still fresh -- three days. They’re
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following us, I tell you.
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INDY
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If they knew we were here, they
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would have killed us already.
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The two Indians jabber in Quechua, near hysteria. Barranca
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is sweating profusely, eyes darting. He yells at the
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Indians in Quechua to “shut up”.
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In the undergrowth, there is slithering movement.
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Indian #1 draws aside a branch and is face with a horrific
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stone sculpture of a Chachapoyan demon. The Indian is so
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frightened no sound comes out when he screams. He turns and
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runs silently away.
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3.
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Indian #2 calls to his friend. Getting no response, he
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steps in that direction. A huge macaw, flushed from the
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undergrowth, screams and flies away. Indian #2 does exactly
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the same thing, never to be seen again.
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Indy, Satipo and Barranca, just clearing the trees, look
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back in that direction. They all turn to face the Temple.
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It is dark and awesome. Vegatation curls from every
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crevice, over each elaborate frieze. The entrance - round,
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open and black - has been designed to look like open jaws.
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INDY
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So this is where Forrestal cashed
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in.
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SATIPO
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A friend of yours?
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INDY
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Competitor. He was good, very good.
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BARRANCA
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(nervous)
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No one has ever come out of there
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alive. Why should we put our faith
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in you?
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Indy takes the weird feather from the band of his hat. From
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around its point, he slips a tightly rolled piece of
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parchment. Barranca and Satipo exchange a quick “So that’s
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where is was!” look. They all kneel as Indy spreads out the
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parchment. On it is one-half of a crude floor plan of the
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Temple.
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INDY
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No one ever had what we have --
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partners.
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Indy fixes them with an expectant stare. Satipo produces a
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similar, but folded, piece of parchment. He lays it - the
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other half of the floorplan - next to Indy’s. They all
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regard it for a moment, then Indy stands and walks toward
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the Temple. Barranca’s eyes are shining as they dart
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between the floorplan and Satipo.
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INDY
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(back turned)
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Assuming that pillar there marks
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the corner and --
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4.
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Barranca is suddenly on his feet, quietly drawing his
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pistol. He raises it toward Indy as Satipo realizes with
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alarm what he’s doing. Too late. Indy’s head turns and he
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sees Barranca.
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Indy’s next move is amazing, graceful and fast, yet totally
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unhurried.
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His right hand slides up under the back of his leather
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jacket and emerges grasping the handle of a neatly curled
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bullwhip. With the same fluid move that brings Indy’s body
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around to face the Peruvian, the whip uncoils to its full
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ten foor length and flashes out.
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The fall of the whip (the unplaited strip at the end of the
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lash) wraps itself around Barranca’s hand and pistol. He
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could not drop the gun now if he tried.
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Indy gives the whip a short pull and Barranca’s arm is
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jerked down, where it involuntarily discharges the gun into
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the dirt. Barranca is amazed, but feels some slack in the
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whip and immediately raises the gun toward Indy again,
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cocking it with his free hand.
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Indy’s face goes hard. And sad.
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Indy sweeps his arm in a wide arc. Barranca spins around,
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enclosed in the whip, his gun hand stuck tight against his
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body. Indy gives one more short jerk on the whip handle and
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Barranca’s gun fires. Barranca falls dead.
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Indy looks quickly at Satipo, who is shocked and
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frightened. He raises his arms in supplication.
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SATIPO
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I knew nothing! He was crazy!
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Please!
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Indy looks him over, then nods. He frees the whip from
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Barranca’s body and picks up the man. His eyes sweep the
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surrounding woods.
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INDY
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Let’s go.
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3 INT. TEMPLE - INCLINED PASSAGE - DAY 3
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5.
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Indy and Satipo, carrying a torch, walk up the slightly
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inclined, tubular passage from the main entrance. The
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interior is wet and dark, hanging with plant life and
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stalactites. Their echoing footsteps intermittently
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overpower the sounds of loud dripping, whistling air drafts
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and scampering claws.
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4 INT. HALL OF SHADOWS 4
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Indy leads the way down a twisting hallway, Satipo’s torch
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barely lighting his way from behind. Indy disappears in a
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shadow and when he reappears a moment later a huge black
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tarantula is crawling up the back of his jacket.
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Indy doesn’t notice and disappears into another shadow,
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emerging with two more tarantulas on his back.
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Satipo sees them and makes a frightened grunting sound.
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Indy looks at him, sees what he’s pointing at and casually
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brushes all three spiders off with his rolled whip, as he
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would a fly. Satipo pirouettes for an inspection and Indy
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flicks one off the Peruvian’s back.
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Indy begins picking up little pocket-sized artifacts from
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the niches and ledges of the Temple. He continues to do
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this as the men penetrate the Temple. His collecting is
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quick and expert, evaluating the pieces in an instant,
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discarding some, stuffing others into his clothes, and
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never stopping his forward progress.
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5 INT. CHAMBER OF LIGHT 5
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The men reach an arch in the hall. The small chamber ahead,
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which interrupts the hall, is brightly lit by a shaft of
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sunlight from high above. Indy stops, looks it over.
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SATIPO
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What’s wrong? Are you lost?
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Indy picks up a stick and throws it through the shaft of
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light. Giant spikes spring together from the sides of the
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chamber with a ferocious CLANG! And impaled on the spikes
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are the remains of a white man, half-fleshed, half
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skeleton, in explorer-type garb. Indy reaches out and takes
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hold of the man’s carcass. As the spikes slowly retract,
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Indy pulls it free and seats the remains gently on the
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floor.
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INDY
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Forrestal.
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6.
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SATIPO
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(gulps)
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We can go no further.
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INDY
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Now, Satipo, we don’t want to be
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discouraged by every little thing.
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Indy steps sideways into the chamber. His back pressed
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against the very points of the retracted spikes, he moves
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along the edge of the light beam, and steps clear on the
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other side. Satipo grimaces and begins sweating his way
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through.
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6 INT. STAIRWAY 6
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Indy and Satipo come down stone stairs to a tight landing.
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Framing the entry are a carefully strung network of dead
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vines, each somehow hooked into the wall, narrowing the
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opening even more.
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INDY
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(taking the torch)
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Let me see that.
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He lowers the torch to the floor of the landing. The
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landing is carpeted with human skeletons, one on top of
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another, all squashed flat as cardboard. Satipo gasps. Indy
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looks up at the ceiling of the landing, then steps onto the
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skeletons, which make a cracking noise under his feet.
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INDY
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Try not to touch the vines.
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7 INT. FOYER OF THE SANTUARY 7
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The men are in a high, straight hallway 50 feet long. The
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door at the end is flooded with sunlight.
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SATIPO
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Senor, I think we are very close.
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Indy stands still looking at the hall.
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SATIPO
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(impatient)
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Let us hurry. There is nothing to
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fear here.
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INDY
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That’s what scares me.
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7.
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They begin walking down the hall side by side. Satipo has
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inched a little ahead. Suddenly his lead foot comes down
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and through the floor! As Satipo beings to pitch forward,
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Indy grabs him by the belt and pulls him back. They both
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look down at the “floor”.
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Indy swings his whip across the floor. Fifteen feet of it
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cuts open beneath the lash, falling away to reveal a black
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pit as wide as the hall. The illusory floor was made of
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dust-covered cobwebs. Satipo picks up a stone and drops it
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down the pit. No sound. The two men exchange glances. Indy
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looks up at the high roof of the hall. He swings the whip
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up around a support beam, tests its strength with a pull
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and swings over the pit on the whip. From the other side he
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swings the whip back to Satipo, who throws Indy the torch.
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Satipo swings across.
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When they are both standing on solid floor there is a
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moment of quiet in which they hear, from far, far below --
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SPLASH! Indy wedges the whip handle into the wall and
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leaves it strung to the beam for quick retreat.
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8 INT. THE SANCTUARY 8
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A large, domed room. Ten evenly-spaced skylights send their
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shafts of sunlight down to a unique tiled floor: white and
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black tiles laid out in a lovely, intricate pattern. Indy
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and Satipo stand at the door and look across the wide room
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at the alter. There, in the supreme hallowed spot, is a
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tiny jeweled figurine, Indy’s real objective.
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Two torches, many years old, are in holders by the door.
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Indy takes one down and lights it. He gives the regular
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torch to Satipo.
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SATIPO
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There’s plenty of light, amigo.
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Indy kneels and uses the unit end of the torch to reach out
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and tap a white tile. It is solid. He taps a black tile.
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There is a whizzing sound and a tiny dart sticks in the
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torch. Satipo points to the wall nearby: there is a
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recessed hole there.
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SATIPO
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From that hole!
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Indy nods, stands and looks around the sanctuary. The
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entire room is honey-combed with the same kind of hole.
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Satipo sees it too and is properly impressed.
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INDY
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8.
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You wait here.
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SATIPO
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If you insist, senor.
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Torch in hand, Indy beings his careful walk across the
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sanctuary. Stepping only on the white tiles, he almost
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appears to be doing a martial arts kata. Before each big
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move he waves the torch in front of him head to toe,
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looking at the flame. Halfway out, he sees something on the
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floor and kneels to look at it.
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A dead bird lies on one of the white tiles. Its body is
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riddled with little deadly darts.
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This has great significance to Indy and he stands with even
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greater caution. He waves the torch ahead of him and at
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waist height an air current whips at the flame. Indy ducks
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under it and leaves a burn mark on the white tile beneath
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it.
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Satipo watches, wide-eyed and mystified.
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Indy reaches the alter. The tiny idol looks both fierce and
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beautiful. It rests on a pedestal of polished stone. Indy
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looks the whole set-up over very carefully. From his jacket
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he takes a small, canvas drawstring bag. He begins filling
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it with dirt from around the case of the alter. When he has
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created a weight that he thinks approximates the weight of
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the idol, he bounces it a couple times in his palm
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concentrating. It’s clear he wants to replace the idol with
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the bag as smoothly as possible. His hand seems ready to do
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that once, when he stops, takes a breath and loosens his
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shoulder muscles. Now he sets himself again. And makes the
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switch! The idol is now in his hand, the bag on the
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pedestal. For a long moment it sits there, then the
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polished stone beneath the bag drops five inches. This sets
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off an AURAL CHAIN REACTION of steadily increasing volume
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as some huge mysterious mechanism rumbles into action deep
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in the temple.
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Indy spins and starts his kata back across the sanctuary at
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four times the speed.
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9 INT. THE SANCTUARY - THE RETREAT - INTER CUTTING INDY AND 9
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SATIPO
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The sanctuary has begun to rumble and shake in response to
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the mysterious mechanism. Just as Indy goes out the door, a
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rock shakes loose from the wall and rolls onto the tile’s
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floor. Immediately, a noisy torrent of poison darts fills
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the room.
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9.
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IN THE FOYER, Satipo swings acorss the pit. He makes it
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just as the whip comes undone from the beam, leaving Indy
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without an escape. Satipo, extremely nervous, regards the
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whip a moment then turns back to face Indy, who has run up
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to the far side of the pit.
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SATIPO
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No time to argue. Throw me the
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idol, I throw you the whip.
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Indy hesitates, eyeing the rumbling walls.
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SATIPO
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You have no choice! Hurry!
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Indy concurs with that assessment. He tosses the idol
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across the pit to Satipo. Satipo stuffs it in the front
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pocket of his jacket, gives Indy a look, then drops the
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whip on the floor and runs.
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SATIPO
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Adios, amigo!
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Indy grimaces. He had a feeling this might happen. He looks
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around.
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AT THE VINED LANDING, Satipo flies through like a chubby
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ballet dancer and takes the steps five at a time.
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IN THE FOYER, Indy runs in full stride to the edge of the
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pit and broad jumps into space. He doesn’t make it. His
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body hits the far side of the pit and he begins to slide
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out of view. Only wild clawing with his fingers at the edge
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of the pit stops his descent. With just the tips of his
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fingers over the edge, he begins pulling himself up.
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AT THE CHAMBER OF LIGHT, Satipo has slowed down. He begins
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to edge carefully around the light shaft.
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AT THE VINED LANDING, Indy sails through sideways and rolls
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to stop at the bottom of the steps. His whip is grasped in
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his hand. As he raises himself, he hears, from above the
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giant spikes of the Chamber of Light CLANG! And an abrupt,
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sickening rendition of SATIPO’S LAST SCREAM. Indy runs up
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the steps. The rumbling sound grows louder.
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AT THE CHAMBER OF LIGHT, Indy slides to a stop. The spikes
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have retracted, taking Satipo’s body to one side. Indy
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edges into the chamber with his back to the shaft of light.
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Soon he is face to face with the dead Satipo; spikes
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protrude from several vital spots in the Peruvian’s body.
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Indy removes the idol from Satipo’s pocket and moves
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quickly out the other side.
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10.
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INDY
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Adios.
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10 INT. THE INCLINED PASSAGE 10
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Indy shoots out of a cut-off hallway and turns toward the
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exit. The rumbling is very loud and now we see why: right
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behind Indy a huge boulder comes roaring around a corner of
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the passage, perfectly form-fitted to the passageway. It
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obliterates everything before it, sending the stalactites
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shooting ahead like missiles. Indy dashes for the light of
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the exit. His hat flies off his head. Almost immediately it
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is crushed by the boulder. Indy dives out the end of the
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passage as the boulder slams to a perfect fit at the
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entrance, sealing the Temple.
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11 EXT. FRONT OF THE TEMPLE - DAY 11
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Indy lies on the ground, gasping for air. A shadow falls
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across him and he looks up.
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WHAT HE SEES. Looming above him are three figures. Two are
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HOVITOS WARRIORS in full battle paint and loin cloths. They
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carry long blow guns. But the man in the center draws
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Indy’s attention. He is a tall, impressive white man,
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dressed in a full safari outfit including pith helmet. His
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name is EMILE BELLOQ. His face is thin, powerful; his eyes
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hypnotic; his smile charming, yet lethal. His heavily
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French-accented speech is deep, mellifluous, wonderful.
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Back beyond Belloq and his two escorts, thirty more Hovitos
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Warriors hover at the edge of the trees.
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BELLOQ
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Dr. Jones, you choose the wrong
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friends. This time it will cost
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you.
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Belloq extends his hand. Indy looks at it, then produces
|
|
the idol and hands it to Belloq. Belloq extends his other
|
|
hand, smiling. Indy hands over his gun. Belloq sticks it in
|
|
his jacket.
|
|
|
|
BELLOQ
|
|
And you thought I’d given up.
|
|
|
|
INDY
|
|
(eyeing the Hovitos)
|
|
Too bad they don’t know you like I
|
|
do, Belloq.
|
|
|
|
BELLOQ
|
|
11.
|
|
|
|
|
|
(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.
|
|
|
|
|
|
12 EXT. THE JUNGLE - INDY’S RUN - VARIOUS SPOTS - DAY 12
|
|
|
|
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.
|
|
|
|
|
|
13 EXT. THE URUBAMBA RIVER - DUSK 13
|
|
|
|
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, then
|
|
jumps into the river. He comes up, swims to the plane and
|
|
grabs a strut.
|
|
|
|
INDY
|
|
GO!
|
|
|
|
Jock starts the plane moving across the water as Indy walks
|
|
across the wing and falls into the passenger compartment.
|
|
12.
|
|
|
|
|
|
14 INT. JOCK’S PLANE - DUSK 14
|
|
|
|
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.
|
|
|
|
|
|
15 EXT. JOCK’S PLANE - TWILIGHT 15
|
|
|
|
It soars off over the dark jungle.
|
|
|
|
|
|
16 INT. INDY’S OFFICE, SMALL EASTERN COLLEGE - DAY 16
|
|
|
|
It’s autumn and the pretty, New England campus out Indy’s
|
|
window reflects it in dazzling color. A few weeks before
|
|
the start of classes. Activity just picking up. Some
|
|
students about.
|
|
|
|
Indy is at a bookcase near the window and he looks quite
|
|
different in this setting. His outfit is tweedy, slightly
|
|
rumpled in the professional style. Part of his attention is
|
|
focused in a book and he wears glasses to see the fine
|
|
print. The office is cramped, absolutely inundated with
|
|
books, maps, etchings and archaeological 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--
|
|
13.
|
|
|
|
|
|
MARCUS BRODY, the Curator of the National Museum in
|
|
Washington D.C. Brody is examining the small artifacts Indy
|
|
pocketed on his way into the Peruvian Temple. He
|
|
occasionally uses a jeweler's eyepiece to get a closer
|
|
look. But he is distracted, his concerns elsewhere, and it
|
|
is this that his old friend Indy senses from across the
|
|
room.
|
|
|
|
BRODY
|
|
Do you think the idol will ever
|
|
show up?
|
|
|
|
INDY
|
|
I don’t know. Just because Belloq
|
|
had it doesn’t mean he kept it.
|
|
|
|
Indy snaps the book closed and puts it on the shelf. He
|
|
takes his glasses off and focuses on Brody. At the windowed
|
|
door to his office, two pretty COEDS pause for a moment,
|
|
look in at their sexy Archeology professor, giggle and
|
|
disappear.
|
|
|
|
INDY
|
|
Getting it away from those Indians
|
|
would be a neat trick.
|
|
(a hard look)
|
|
I hope they got him.
|
|
|
|
A young male graduate student, Indy’s TEACHING ASSISTANT,
|
|
taps on the door and then pushes his way in with an 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 ‘till 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.
|
|
14.
|
|
|
|
|
|
INDY
|
|
Hey, if you don’t like them, I can
|
|
always return them.
|
|
|
|
BRODY
|
|
No, they’re beautiful. The Museum
|
|
will buy them as usual. No
|
|
questions asked.
|
|
|
|
INDY
|
|
Then what’s wrong?
|
|
|
|
BRODY
|
|
I brought along some people today.
|
|
|
|
INDY
|
|
What kind of people?
|
|
|
|
BRODY
|
|
Government.
|
|
|
|
INDY
|
|
(concerned)
|
|
Government?
|
|
|
|
BRODY
|
|
Don’t worry, it’s not about your
|
|
business.
|
|
(indicates the artifacts)
|
|
They’re from the Army.
|
|
|
|
INDY
|
|
I’ve already served.
|
|
|
|
BRODY
|
|
Army Intelligence. They’re looking
|
|
for Abner.
|
|
|
|
|
|
17 INT. INDY’S LECTURE HALL - CLASSROOM - DAY 17
|
|
|
|
Indy’s course - a combination of archaeology and
|
|
anthropology - is taught in this amphitheater-type lecture
|
|
hall. His desk and lectern hold large reference books;
|
|
blackboards line the wall. Bones, maps, charts fasten on
|
|
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
|
|
15.
|
|
|
|
|
|
-- but you did study under
|
|
Professor Ravenwood at the
|
|
University of Chicago?
|
|
|
|
INDY
|
|
(nods)
|
|
We haven’t spoken in ten years. I’m
|
|
afraid we had a bit of a falling
|
|
out.
|
|
|
|
EATON
|
|
You know nothing of his
|
|
whereabouts?
|
|
|
|
INDY
|
|
(negative)
|
|
Just rumors. Somewhere in Asia,
|
|
last I heard.
|
|
|
|
Musgrove and Eaton exchange a look; they’re disappointed.
|
|
|
|
EATON
|
|
(to Musgrove)
|
|
Maybe Dr. Jones can make sense of
|
|
it.
|
|
|
|
Again, the military men have a silent communication,
|
|
deciding what to reveal.
|
|
|
|
MUSGROVE
|
|
Well -- you must understand, Dr.
|
|
Jones, this is all strictly
|
|
confidential.
|
|
|
|
INDY
|
|
I understand.
|
|
|
|
MUSGROVE
|
|
Yesterday, one of our European
|
|
sections intercepted a Nazi
|
|
communique from Cairo to Berlin. We
|
|
don’t quite know what to make of
|
|
it.
|
|
|
|
Musgrove takes a sheet from his briefcase.
|
|
|
|
MUSGROVE
|
|
Here it is - “Tanis development
|
|
proceeding. Acquire headpiece,
|
|
Staff of Ra, General Tengtu Hok,
|
|
Shanghai. Locate Abner Ravenwood,
|
|
U.S.”
|
|
16.
|
|
|
|
|
|
Brody is excited. He looks at Indy.
|
|
|
|
BRODY
|
|
Tanis. They must have discovered
|
|
the lost ruins.
|
|
|
|
Indy contemplates this big news; he’s impressed.
|
|
|
|
INDY
|
|
(to himself)
|
|
Tanis. Ain’t that somethin’!
|
|
|
|
EATON
|
|
Frankly, we’re a little suspicious
|
|
-- An American being mentioned so
|
|
prominently in a secret Nazi cable.
|
|
|
|
INDY
|
|
Ah, Ravenwood’s no Nazi.
|
|
|
|
EATON
|
|
Then what do they want him for?
|
|
|
|
INDY
|
|
They’re looking for the headpiece
|
|
to the Staff of Ra.
|
|
|
|
MUSGROVE
|
|
(indicates his sheet)
|
|
But it says here that’s in China.
|
|
|
|
INDY
|
|
Only half of it. Ravenwood had the
|
|
other half.
|
|
|
|
EATON
|
|
What would the Nazis want with this
|
|
- this Staff of Ra?
|
|
|
|
BRODY
|
|
I can tell you that. Over the last
|
|
two years the Nazis have had teams
|
|
of archaeologists running around
|
|
the world looking for all kinds of
|
|
religious artifacts.
|
|
|
|
MUSGROVE
|
|
That’s right. Hitler’s a nut on the
|
|
subject. Crazy. He’s obsessed with
|
|
the occult.
|
|
|
|
EATON
|
|
What is this Staff of Ra, anyway?
|
|
17.
|
|
|
|
|
|
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.
|
|
|
|
INDY
|
|
But before that, the Pharaoh had
|
|
the Ark hidden away in a secret
|
|
chamber called the Well of the
|
|
Souls. Which is where the Staff of
|
|
Ra comes in.
|
|
|
|
Indy moves to the blackboard and makes a quick sketch to
|
|
give a rough idea of the system as he describes it. (And we
|
|
get a glimpse of what an interesting and enthusiastic
|
|
teacher he must be)
|
|
|
|
INDY
|
|
Now this was rather clever. The
|
|
Staff was really just a big stick -
|
|
- oh, I don’t know, say like this -
|
|
-
|
|
(he indicates about six
|
|
feet)
|
|
-- no one really knows for sure.
|
|
Anyway, 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 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 the
|
|
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 --
|
|
18.
|
|
|
|
|
|
MUSGROVE
|
|
-- where the Ark of the Covenant
|
|
was kept.
|
|
|
|
INDY
|
|
(nods)
|
|
Which is probably what the Nazis
|
|
are after.
|
|
|
|
EATON
|
|
What’s this Ark look like?
|
|
|
|
INDY
|
|
Look like? Why, it’s right here --
|
|
|
|
Indy pulls a big format book from the stack on his lectern
|
|
and flips through the pages until he finds a large color
|
|
print. The other men gather to look.
|
|
|
|
THE PRINT fills the screen.
|
|
|
|
It shows a Biblical battle. The Israelite Army is
|
|
vanquishing an opposition force. At the forefront of the
|
|
Israelite ranks, two men carry the Ark of the Covenant, a
|
|
beautiful gold chest, crowned by two sculptured gold
|
|
angels. The men do not touch the Ark itself; rather they
|
|
carry it by use of two long wooden poles which pass through
|
|
rings in the corners of the Ark. The painting is very
|
|
dramatic, full of smoke, tumult and sinewy dying men. But
|
|
the most astonishing 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, wrecking 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.
|
|
19.
|
|
|
|
|
|
INDY
|
|
Oh yes. The Bible tells of it
|
|
leveling mountains and wasting
|
|
entire regions. Moses promised that
|
|
when the Ark was with you, “your
|
|
enemies will be scattered and your
|
|
foes fell before you”.
|
|
(pause)
|
|
An army which carries the Ark
|
|
before it is invincible.
|
|
|
|
Eaton and Musgrove exchange worried looks.
|
|
|
|
INDY
|
|
Oh, there’s one other thing that
|
|
Hitler 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.
|
|
|
|
|
|
18 EXT. FRONT DOOR - INDY’S HOUSE - NIGHT 18
|
|
|
|
Indy’s English Tudor, upper middle class home. Quite toney;
|
|
well beyond the financial reach of an honest college
|
|
professor. Marcy 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.
|
|
20.
|
|
|
|
|
|
19 INT. FOYER - INDY’S HOUSE 19
|
|
|
|
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 moment.
|
|
|
|
As Brody passes the entrance to the expansive living room,
|
|
he spots a beautiful, silk-gowned Harlow-type lounging on
|
|
the sofa in front of a roaring fire. She is sipping
|
|
champagne.
|
|
|
|
|
|
20 INT. STUDY - INDY’S HOUSE 20
|
|
|
|
Brody enters the book-lined, dark-wooded study. He paces
|
|
for a moment before the fire which is dying in the
|
|
fireplace, then spots something and goes over to Indy’s big
|
|
desk. The surface is covered with open books, monographs,
|
|
maps and drawings - all about the Ark of the Covenant.
|
|
Brody smiles; he knows his friend very well.
|
|
|
|
Indy comes in, closing the door behind him. Brody turns to
|
|
him with a triumphant expression.
|
|
|
|
BRODY
|
|
They want you to go for it. And
|
|
they’ll pay.
|
|
|
|
INDY
|
|
(smiles)
|
|
Good work, Marcus. I had a feeling
|
|
this would happen. And, of course,
|
|
the Museum gets the Ark when we’re
|
|
done.
|
|
|
|
BRODY
|
|
(smiles)
|
|
Of course.
|
|
|
|
Indy’s manner is vigorous, aggressive.
|
|
|
|
INDY
|
|
Okay, here’s the way it’s gonna be.
|
|
First, I’ll high-tail it to
|
|
Shanghai and get the piece from
|
|
General Hok. Then I think I know
|
|
where I can find Ravenwood. If only
|
|
I can get --
|
|
|
|
BRODY
|
|
21.
|
|
|
|
|
|
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:
|
|
|
|
|
|
21 EXT. IN THE AIR - DAY - NIGHT 21
|
|
|
|
A Pan Am Clipper flies west over the Pacific.
|
|
|
|
WIPE TO:
|
|
|
|
|
|
22 INT. KEHOE’S CAR - SHANGHAI AIRPORT - DAY 22
|
|
|
|
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 zings
|
|
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.
|
|
|
|
|
|
23 EXT. HOK’S STREET - DAY 23
|
|
|
|
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.
|
|
22.
|
|
|
|
|
|
24 EXT. HOK’S STREET - IN FRONT OF THE PALACE - DAY 24
|
|
|
|
A Mercedes limousine appears round a corner and squeals to
|
|
a stop at the front gate of the palace, which is manned by
|
|
a sturdy Chinese Gateman. There are three Germans inside,
|
|
one the driver.
|
|
|
|
|
|
25 EXT. ALLEY BEHIND HOK’S MUSEUM - DAY 25
|
|
|
|
Kehoe, alone now, pushes a trash container casually into a
|
|
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.
|
|
|
|
|
|
26 INT. HOK’S PALACE - ENTRY HALL 26
|
|
|
|
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 ornamental robe.
|
|
Despite the majesty, however, nothing can disguise the fact
|
|
that Hok is basically a wild, fat barbarian; an animal. Hok
|
|
and his escort group bow in what is the beginning of a long
|
|
welcoming ceremony. The Germans exchange impatient glances
|
|
but decide they should play it as it comes. They bow.
|
|
|
|
|
|
27 INT. HOK’S MUSEUM 27
|
|
|
|
No person in sight. Instead, we see a magnificent display
|
|
of ancient artifacts. Glass cases hold the velvet-couched
|
|
pieces at random spots on the shining marble floor. We hear
|
|
an odd sound. Near the floor on the rear wall of the
|
|
museum, a steel ventilation grate moves. A hand slides it
|
|
gently across the marble. Indy sticks his head out and
|
|
looks around.
|
|
|
|
|
|
28 INT. HOK’S PALACE - TEA ROOM 28
|
|
|
|
The three Germans are being served tea and exotic
|
|
delicacies. A pleased Tengtu Hok watches from a throne-
|
|
cushion. When the tray of tiny delicacies is presented to
|
|
him, he takes a massive handful, crushing them together on
|
|
their way to his smiling mouth.
|
|
|
|
|
|
29 INT. HOK’S MUSEUM 29
|
|
23.
|
|
|
|
|
|
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 myraid tiny threads which run
|
|
up and across the ceiling, then down to the various display
|
|
cases. Indy looks up at the gong, then continues his quick,
|
|
quiet foray among the cases. Beyond him, a high window.
|
|
|
|
|
|
30 INT. HOK’S PALACE - TEA ROOM 30
|
|
|
|
Hok and his visitors stand to go. The Germans’ pleased
|
|
expressions make it clear they’re finally on their way to
|
|
the museum.
|
|
|
|
|
|
31 INT. HOK’S MUSEUM 31
|
|
|
|
Indy arrives at his destination. The lovely, carved gold
|
|
section of the headpiece is nested on purple velvet in a
|
|
glass case. At the bottom of the piece is a round hollow
|
|
where the staff would fit. There is a grunting sound behind
|
|
Indy and he spins, already reaching for his revolver.
|
|
|
|
A fierce Japanese Samurai is running at Indy full speed
|
|
down an aisle of display cases. His sword is raised over
|
|
his shoulder ready to cut Indy in half. He’s six feet away
|
|
when Indy’s gun levels and fires twice, blasting him
|
|
backwards. Indy is still looking over his gun when another
|
|
samurai sword comes down from the side and knocks the
|
|
pistol brutally out of Indy’s grip; his hand avoids
|
|
amputation by a quarter of an inch.
|
|
|
|
An amazed Indy backs away from the crossing aisle as the
|
|
Second Samurai steps in to face him, sword raised. Indy
|
|
backs away into an open space and his bullwhip appears in
|
|
his hand. He gives it one savage CRACK! to announce its
|
|
arrival and the Samurai slows down, eyeing it curiously.
|
|
The Samurai does not look unhappy about this confrontation.
|
|
How pure it is - The Sword versus The Whip.
|
|
|
|
|
|
32 EXT. HOK’S PALACE - SECOND FLOOR WALKWAY - DAY 32
|
|
|
|
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.
|
|
|
|
|
|
33 EXT. STREET IN FRONT OF THE PALACE - DAY 33
|
|
|
|
The lovely Mercedes limousine blows up.
|
|
24.
|
|
|
|
|
|
34 EXT. HOK’S PALACE - SECOND FLOOR WALKWAY - DAY 34
|
|
|
|
The Germans spin toward the blast. Drawing weapons, they
|
|
run back to investigate. Hok follows them, confused.
|
|
|
|
|
|
35 INT. HOK’S MUSEUM 35
|
|
|
|
Indy and the Samurai face each other. They’re both
|
|
breathing hard from previous, no-contact passes at each
|
|
other. Now Indy begins swinging the whip over his head
|
|
again. It whizzes out toward the Samurai’s face. The
|
|
Samurai take two lightning-quick cuts at the leather, but
|
|
misses.
|
|
|
|
Indy swings for the Samurai’s feet; the Samurai jumps
|
|
nimbly, slashing at the whip. Indy does it gain. The
|
|
Samurai hops it. Once more. The Samurai is concentrating on
|
|
hopping it.
|
|
|
|
Indy sees it. The split second he wants. The whip flashes
|
|
up from the floor and wraps solidly and irrevocably around
|
|
the Samurai’s neck. Indy gives it a murderous pull and the
|
|
Samurai is dead on his feet.
|
|
|
|
|
|
36 EXT. HOK’S PALACE - SECOND FLOOR WALKWAY - DAY 36
|
|
|
|
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.
|
|
|
|
|
|
37 INT. HOK’S MUSEUM 37
|
|
|
|
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.
|
|
|
|
|
|
38 EXT. HOK’S PALACE - SECOND FLOOR WALKWAY - DAY 38
|
|
|
|
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.
|
|
|
|
|
|
39 INT. HOK’S MUSEUM 39
|
|
25.
|
|
|
|
|
|
The double doors at the entrance slam open to reveal Hok.
|
|
|
|
Indy is halfway along an unprotected wall back to his
|
|
ventilation entry route. Hok opens up on him, cutting off
|
|
his retreat. Indy jumps behind a marble column, which is
|
|
promptly blasted with machine gun fire.
|
|
|
|
Indy looks above him, sees the giant disk of the gong.
|
|
Reaching up, pushing with tremendous effort, he maneuvers
|
|
it off the hook. It bounces to the floor on its side,
|
|
chipping the marble with its monstrous weight. Indy
|
|
steadies it and then puts his whole body into rolling it
|
|
across the room toward the window. As it starts to roll,
|
|
Indy slips behind it and runs across the room with it.
|
|
|
|
Hok can see the rolling gong. He opens up on it. The
|
|
vicious cacophony of machine gun fire is joined by the
|
|
musical reports of bullets hitting the gong and ricocheting
|
|
away. Very, very noisy.
|
|
|
|
Behind the gong, Indy gauges his move. As the gong is about
|
|
to be stopped by a marble bench, Indy takes a long stride
|
|
onto a bench and dives through the glass of the high
|
|
window. Hok’s bullets hit the wall.
|
|
|
|
|
|
40 EXT. ROOF - DAY 40
|
|
|
|
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.
|
|
|
|
|
|
41 EXT. ALLEY BEHIND HOK’S MUSEUM - DAY 41
|
|
|
|
Kehoe, craning to locate Indy, has the Ford rolling slowly
|
|
along the back of the museum. Bang scouts from the back
|
|
seat. Indy appears on the roof at a run, gauges the
|
|
movement of the car and jumps from the roof of the museum
|
|
to the roof of the sedan. Unfortunately, the roof of the
|
|
old car can’t take it and Indy’s legs knife right on
|
|
through to the interior, where he scares the hell out of
|
|
Kehoe.
|
|
|
|
|
|
42 INT. KEHOE’S CAR - DAY 42
|
|
|
|
Indy squirms his way down into the front seat.
|
|
|
|
KEHOE
|
|
Jesus! Are you all right?
|
|
26.
|
|
|
|
|
|
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:
|
|
|
|
|
|
43 EXT. DC-3 IN THE AIR - DUSK 43
|
|
|
|
The plane flies west into the sunset.
|
|
|
|
|
|
44 INT. DC-3 - NIGHT 44
|
|
|
|
Under a meager seat light, Indy is pouring over a journal
|
|
article by Abner Ravenwood and a related map of Nepal.
|
|
|
|
A few rows back, across the aisle, a trench coated European
|
|
Spy eyes Indy.
|
|
|
|
WIPE TO:
|
|
|
|
|
|
45 INT. “THE RAVEN” SALOON - PATAN - NEPAL - NIGHT 45
|
|
|
|
A huge stuffed raven, wings spread wide, is mounted behind
|
|
the long bar in the noisy, crowded saloon. A lively mix of
|
|
patrons is represented in the late hour tableau: Nepalese
|
|
natives, fierce Sherpa mountain guides, sleazy
|
|
international smugglers and fugitives, and, of course,
|
|
mountain climbers from every corner of the earth. A tall
|
|
Nepalese, MAHDLO, is the bartender.
|
|
|
|
In a corner near the fireplace trouble breaks out suddenly
|
|
between the groups at two neighboring tables. Ferocious
|
|
representatives from each table, one a wild-looking SHERPA,
|
|
the other a muscular Australian CLIMBER, jump up to face
|
|
each other. As the two contenders stand posed for action,
|
|
their representative supporters shift in their places,
|
|
fondling lethal ice axes and clubs.
|
|
|
|
SHERPA
|
|
Gmoiska! Shurga rintoik!
|
|
|
|
CLIMBER
|
|
27.
|
|
|
|
|
|
Aye! That’ll be your last word.
|
|
|
|
The bar has quieted ominously and so we hear with startling
|
|
clarity when a door behind the bar slams open with a huge
|
|
BANG! and some Presence, too small to be seen as it moves
|
|
through the forest of towering patrons, makes a beeline for
|
|
the troubled corner of the bar. A path clears for it.
|
|
|
|
The Sherpa and the Climber are about to kill each other
|
|
when the Presence arrives directly between them: she is
|
|
MARION RAVENWOOD, twenty-five years old, beautiful, if a
|
|
bit hard-looking. At this moment, however, that look does
|
|
not hurt. She is not intimidated by the combatants; she
|
|
jabs accusatory fingers into their chests. She is angry as
|
|
hell. The patrons shrink under her gaze.
|
|
|
|
MARION
|
|
That does it! I’ve been patient
|
|
with you no-goods long enough. I’m
|
|
not open at 2 o’clock for myself,
|
|
you know. It’s all for you. And how
|
|
do you repay me: Trouble and noise
|
|
and blood on my floor! I won’t have
|
|
it. Everybody out! Out! Out! We’re
|
|
closed. Closed! Do your killing
|
|
outside! And don’t leave any bodies
|
|
on the porch!
|
|
|
|
The place clears quickly. Stragglers and grumblers are
|
|
given special attention by Marion and Mahdlo, who has come
|
|
from behind the bar carrying a big axe handle. Mahdlo herds
|
|
the crowd 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
|
|
place. I don’t meant 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 bar stool on the floor. He rubs his jaw and smiles
|
|
up at her.
|
|
28.
|
|
|
|
|
|
INDY
|
|
Nice to see you, too.
|
|
|
|
MARION
|
|
Get up and get out.
|
|
|
|
INDY
|
|
(getting up)
|
|
Take it easy. I’m looking for your
|
|
father.
|
|
|
|
MARION
|
|
(bitterly)
|
|
Well you’re two years too late.
|
|
|
|
Indy’s attitude changes instantly. This is sad news. He is
|
|
silent for a long time. Mahdlo comes in the front door and
|
|
hurries forward when he sees Indy with Marion. He looks to
|
|
her for guidance, but she stays him with a gesture.
|
|
|
|
MARION
|
|
Go home, Mahdlo. I’ll see you
|
|
tomorrow.
|
|
|
|
Mahdlo is hesitant, but lays the axe handle on the bar and
|
|
goes out. Indy has been barely aware of him. Now he settles
|
|
again on the bar stool. Marion has a vindictive look.
|
|
She’ll let him stay, but she wants to inflict as much pain
|
|
as possible.
|
|
|
|
INDY
|
|
What happened?
|
|
|
|
MARION
|
|
Avalanche. Up there. He was
|
|
digging. What else? He spent his
|
|
whole life digging. Dragging me all
|
|
over this rotten earth. For what?
|
|
|
|
INDY
|
|
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 pour
|
|
herself a drink.
|
|
|
|
INDY
|
|
29.
|
|
|
|
|
|
Not a bad way to go. Doing what he
|
|
loved.
|
|
|
|
MARION
|
|
(vitriolic)
|
|
Don’t give me that stuff!
|
|
|
|
MARION
|
|
What do you know?
|
|
(she takes a drink)
|
|
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 him 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 of 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
|
|
30.
|
|
|
|
|
|
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 it 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
|
|
31.
|
|
|
|
|
|
Why start now?
|
|
|
|
INDY
|
|
Shut up and listen for a second. I
|
|
want that piece your father had.
|
|
I’ve got money.
|
|
|
|
That 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.
|
|
32.
|
|
|
|
|
|
INDY
|
|
You’re a tough broad now, aren’t
|
|
you?
|
|
|
|
MARION
|
|
It’s no act, pal. This ain’t
|
|
Schenectady.
|
|
|
|
INDY
|
|
I can only say I’m sorry so many
|
|
times.
|
|
|
|
Marion looks at him thoughtfully, takes a drink.
|
|
|
|
MARION
|
|
You really have money? You don’t
|
|
look rich.
|
|
(Indy nods)
|
|
I may be able to locate some of his
|
|
things. I know who’s got them. What
|
|
do you want?
|
|
|
|
INDY
|
|
A bronze piece, about this size. In
|
|
the shape of the sun. Probably
|
|
broken off at the bottom. Has a
|
|
little hole in it, off-center. Does
|
|
that sound familiar.
|
|
|
|
Marion thinks, nods slowly.
|
|
|
|
INDY
|
|
Do you know where it is?
|
|
|
|
MARION
|
|
Maybe. How much?
|
|
|
|
INDY
|
|
Three thousand. American.
|
|
|
|
MARION
|
|
(negative)
|
|
That’ll get me back, but not in
|
|
style. This doodad must be pretty
|
|
important.
|
|
|
|
INDY
|
|
Maybe.
|
|
|
|
A huge smile lights up Marion’s face.
|
|
|
|
MARION
|
|
33.
|
|
|
|
|
|
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
|
|
Your word, huh?
|
|
(Indy nods)
|
|
Just like you said you’d be back
|
|
last time? That was your word too.
|
|
|
|
INDY
|
|
I’m back, aren’t I?
|
|
|
|
Marion sneers and they smile together.
|
|
|
|
INDY
|
|
You can trust me.
|
|
|
|
MARION
|
|
Come back tomorrow.
|
|
|
|
INDY
|
|
Why?
|
|
|
|
MARION
|
|
Because I said so, that’s why. It’s
|
|
about time I called the shots in
|
|
this relationship.
|
|
|
|
Indy nods, gets up to go.
|
|
|
|
MARION
|
|
Wait a minute. Leave the five
|
|
thousand here.
|
|
(Indy hesitates)
|
|
You want trust, give some. I want
|
|
to smell your money.
|
|
|
|
Indy thinks about this a moment, then reaches inside his
|
|
shirt and pulls out cash from a money belt. He lays five
|
|
grand on the bar.
|
|
|
|
INDY
|
|
I trust you.
|
|
34.
|
|
|
|
|
|
MARION
|
|
You’re an idiot.
|
|
|
|
INDY
|
|
I’ve heard that.
|
|
|
|
Indy starts for the door. Marion takes another drink. She’s
|
|
getting high.
|
|
|
|
MARION
|
|
Hold it. Come here.
|
|
|
|
INDY
|
|
(moving back)
|
|
Bossy, aren’t you?
|
|
|
|
MARION
|
|
That’s right. Give me a kiss.
|
|
|
|
Indy looks into her eyes, then leans over the bar and
|
|
kisses her deeply. When the kiss ends, their faces are very
|
|
close.
|
|
|
|
Marion is flushed. She liked it and would like more. She
|
|
raises her glass between them to discipline herself.
|
|
|
|
MARION
|
|
Get out of my place.
|
|
|
|
Indy smiles and walks to the front door. Then, without
|
|
looking back-
|
|
|
|
INDY
|
|
Tomorrow.
|
|
|
|
He’s gone. Marion stares after him, thinking. She takes a
|
|
drink. Then slowly, her hand comes up to 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.
|
|
|
|
|
|
46 EXT. STREETS OUTSIDE “THE RAVEN” - NIGHT 46
|
|
|
|
Indy sits thinking at the wheel of an old car. Finally, he
|
|
puts the car in gear and drives away.
|
|
35.
|
|
|
|
|
|
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:
|
|
|
|
|
|
47 INT. “THE RAVEN” - NIGHT 47
|
|
|
|
Marion stands before the fire that is shrinking in the
|
|
fireplace. She jabs at it abstractedly with a poker,
|
|
thinking. Suddenly tears well up in her eyes. She lets the
|
|
poker slip from her hand, wipes away the tears. She walks
|
|
across the room to the end of the bar, still cluttered with
|
|
bottles and glasses, and stops at the pile of American
|
|
money Indy has left. She takes the chain from around her
|
|
neck and lets the medallion slide off it into her hand. She
|
|
places it on the bar next to the pile of money, thinking.
|
|
Then, having reached some decision, she picks up the pile
|
|
of bills, walks up the back of the bar and pulls a small
|
|
wooden box from under the bar. She flips open the top, puts
|
|
the cash inside and closes the top. She leaves the box on
|
|
the bar and starts back toward the medallion. The front
|
|
door of the saloon bursts open and Four Bad Men come in.
|
|
Marion, halfway between the valuable possessions and not
|
|
wishing to draw attention to either, stops where she is.
|
|
|
|
The Four Bad Men who advance on her are:
|
|
|
|
1) the obvious leader, a short, vile, sadistic German in
|
|
spectacles by the name of BELZIG.
|
|
|
|
2) a trench coated SECOND NAZI.
|
|
|
|
3) a ratty-looking NEPALESSE and
|
|
|
|
4) a mean MONGOLIAN. The second NAZI and the MONGOLIAN both
|
|
carry sub machine 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.
|
|
36.
|
|
|
|
|
|
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. Her 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
|
|
37.
|
|
|
|
|
|
We will stick to the business at
|
|
hand, Fraulein.
|
|
|
|
MARION
|
|
(tough)
|
|
Fine. Why don’t you come back
|
|
tomorrow when Jones is here and
|
|
we’ll have an auction?
|
|
|
|
Belzig gives her a cold look then turns and walks toward
|
|
the fireplace. As soon as his back is turned, the Second
|
|
Nazi grabs the nearest whiskey bottle and takes a quick
|
|
pull. In so doing, he leaves the medallion completely
|
|
exposed. Marion is aware of this as she looks at him. But
|
|
he quickly puts the bottle down again, obscuring the
|
|
medallion, when Belzig speaks from the fireplace.
|
|
|
|
BELZIG
|
|
I’m afraid an auction is not
|
|
possible.
|
|
(pause)
|
|
Your fire is dying here, Fraulein.
|
|
(a beat, then
|
|
threatening)
|
|
Why don’t you tell us where the
|
|
piece is right now?
|
|
|
|
MARION
|
|
Listen, Herr Mac, I don’t know who
|
|
you’re used to dealing with, but no
|
|
one tells me what to do in my
|
|
place.
|
|
|
|
Belzig, still looking in the fire, sneers and shakes his
|
|
head.
|
|
|
|
BELZIG
|
|
Americans! You’re all alike.
|
|
Fraulein Ravenwood. I’ll show you
|
|
what 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
|
|
38.
|
|
|
|
|
|
Wait! I can be reasonable --
|
|
|
|
BELZIG
|
|
That time is passed.
|
|
|
|
The glowing poker point moves inexorably across the room
|
|
toward Marion’s face.
|
|
|
|
MARION
|
|
You don’t need that. I’ll tell you
|
|
everything!
|
|
|
|
BELZIG
|
|
Yes, I know you will.
|
|
|
|
Belzig has no intention of stopping now. The glowing tip is
|
|
approaching Marion’s face. The Nepalese watches with savage
|
|
glee.
|
|
|
|
The tip of the poker is five inches from Marion’s nose when
|
|
there is a loud CRACK! and the fall of Indy’s bullwhip
|
|
wraps around the middle of the poker and tears it out of
|
|
Belzig’s hands. The poker sails high across the room, free
|
|
of the whip, and lands in the heavy curtains that over one
|
|
window. The curtains immediately burst into flame.
|
|
|
|
The four Bad Men look in surprise toward the front
|
|
entrance. Indy is poised there, the whip in his right hand,
|
|
a .45 Automatic raised toward them in his left.
|
|
|
|
INDY
|
|
Hello.
|
|
|
|
Now everything begins to happen very fast-
|
|
|
|
The Mongolian had just come around the bar at the end
|
|
opposite the medallion. He dives back to crouch behind the
|
|
end of the bar, raising his sub machine gun.
|
|
|
|
Belzig and the Second German dive behind the tables near
|
|
the bar. The Nepalese is slower to leave Marion, he draws a
|
|
Luger. Indy’s .45 barks and the Nepalese dies spinning
|
|
against the bar. Indy fires in the direction of the
|
|
Mongolian.
|
|
|
|
Marion swings up over the top of her bar. Belzig fires at
|
|
her, but his bullets smash bottles behind the bar and thud
|
|
into the raven.
|
|
|
|
Marion flattens out on the floor behind the bar as bullets
|
|
hit above her. She reaches up, snatches the axe handle from
|
|
where Mahdlo left it, and begins crawling down the length
|
|
of the bar toward-
|
|
39.
|
|
|
|
|
|
The Mongolian, who sticks his sub machine gun out and fires
|
|
blindly in Indy’s direction.
|
|
|
|
Indy is in a crouch behind a table, trying to get a shot at
|
|
someone. He doesn’t notice in the din and confusion when
|
|
the door bursts open.
|
|
|
|
An incredible, fearsome GIANT SHERPA, almost seven feet
|
|
tall, soars in and tackles Indy from behind. The whip flies
|
|
from Indy’s hand as he and the Giant Sherpa roll across the
|
|
floor, upsetting furniture.
|
|
|
|
The Mongolian, seeing this, stands up confidently. Marion
|
|
rises behind him and bashes him over the head with the axe
|
|
handle. He goes down and out.
|
|
|
|
Fire has completely engulfed the curtains and is working
|
|
across the ceiling on decorative yak skin bunting. A
|
|
burning fragment drops to the top of the bar, which
|
|
immediately lights up, fueled by the spilled alcohol. Full
|
|
whiskey bottles explode like Molotov cocktails.
|
|
|
|
Rolling on the floor, Indy and the Giant Sherpa are
|
|
fighting for control of Indy’s .45. Belzig sees this and
|
|
shout to the Second Nazi, who is rising from cover with the
|
|
sub machine 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 Lugar.
|
|
|
|
Marion, at the end of the bar, finally gets the hand of the
|
|
Mongolian’s sub machine gun. It roars to life in the
|
|
general direction of the ceiling.
|
|
40.
|
|
|
|
|
|
Belzig runs for cover as Marion gets control of the gun and
|
|
levels it. Belzig dives around the end of the bar opposite
|
|
Marion. When he has set himself, he peeks up over the edge
|
|
of the scorched bar. The alcohol fire has moved down the
|
|
bar and now, much to Belzig’s surprise, he finds himself
|
|
staring at the fire-blackened sun-shaped medallion! His
|
|
eyes widen. He cannot believe his good fortune. Without
|
|
hesitation he picks up the metal medallion, palming it.
|
|
|
|
Immediately there is a sickening searing sound and Belzig’s
|
|
expression changes from joy to agony. He screams in pain
|
|
and tries to shake the red-hot medallion from his skin.
|
|
Marion opens up and the bar starts to splinter in front of
|
|
Belzig. The medallion comes free of Belzig’s hand and rolls
|
|
across the floor.
|
|
|
|
Belzig has had enough. In excruciating pain, he turns, sees
|
|
a window, runs and dives through the glass.
|
|
|
|
An exhausted Indy uses his whole body to upend the Giant
|
|
Sherpa, who lands hard on his back. They are surrounded by
|
|
flames.
|
|
|
|
|
|
48 EXT. THE RAVEN - SNOW BANK - NIGHT 48
|
|
|
|
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.
|
|
|
|
|
|
49 INT. THE RAVEN - NIGHT 49
|
|
|
|
Marion throws down the empty sub machine 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.
|
|
41.
|
|
|
|
|
|
Indy moves quickly through the flames, his eyes scanning
|
|
the floor. He picks up his bullwhip and his crumpled felt
|
|
hat. He peers through the smoke till he spots Marion moving
|
|
among the burning furniture.
|
|
|
|
INDY
|
|
Let’s get out of here!
|
|
|
|
MARION
|
|
Not without that piece you want!
|
|
|
|
INDY
|
|
It’s here?
|
|
|
|
Marion nods, kicks aside a burning chair. Another burning
|
|
beam falls from the roof. Indy pulls Marion close to him
|
|
protectively.
|
|
|
|
INDY
|
|
Forget it! I want you out of here.
|
|
Now!
|
|
|
|
He beings 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-
|
|
42.
|
|
|
|
|
|
She holds up the medallion possessively.
|
|
|
|
MARION
|
|
I’m your partner!
|
|
|
|
|
|
50 EXT. CAIRO - VARIOUS SHOTS - DAY 50
|
|
|
|
First we see the sprawl, the soaring minarets, the ancient
|
|
skyline.
|
|
|
|
Then we’re closer, in the narrow, exotic streets, teeming
|
|
with life: fierce-looking men in tattered galabiyas, black-
|
|
gowned women with veiled face, ragged, barefoot children.
|
|
|
|
|
|
51 INT. DINING ROOM - SALLAH’S HOUSE - OLD CAIRO 51
|
|
|
|
Indy and Marion have been welcomed like family into the
|
|
crowded home of SALLAH, his wife FAYAH, and their NINE
|
|
CHILDREN (ages 4 - 18). Fayah, a huge, imposing woman,
|
|
appears, at first glance, to be the power in the house.
|
|
Sallah, a small, cheerful, energetic fellow in his forties
|
|
defers to his wife in all matters of little importance.
|
|
|
|
Suddenly the general liveliness at the children’s table
|
|
escalates into pandemonium, attracting the attention of the
|
|
adults.
|
|
|
|
FAYAH
|
|
Silence!
|
|
(there is silence)
|
|
Why do you forget yourselves?
|
|
|
|
The gaggle of grinning off-spring parts to reveal in their
|
|
midst -- a MONKEY. It is munching some flat Arab bread.
|
|
|
|
FAYAH
|
|
What is this? Who brought this
|
|
animal in?
|
|
|
|
All the children chatter their innocence at once. The
|
|
Monkey chatters too; it’s an entertainer. The Monkey jumps
|
|
from the children’s table to the adults’ and struts slowly
|
|
up to Marion, who thinks it’s the cutest thing she ever
|
|
saw. When it reaches her, it takes off its turban and does
|
|
a deep, grand bow to her. She is delighted and takes the
|
|
Monkey into her arms. The Monkey kisses her cheek. The
|
|
children laugh.
|
|
|
|
MARION
|
|
Why, thank you. I like you too.
|
|
43.
|
|
|
|
|
|
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.
|
|
|
|
|
|
52 EXT. COURTYARD - SALLAH’S HOUSE - NIGHT 52
|
|
|
|
Indy and Sallah sit in the small, protected courtyard.
|
|
Sallah holds the two sections of the headpiece, the
|
|
medallion and the base, and has for the first time fitted
|
|
them together. They fit perfectly and complete the
|
|
headpiece. He peruses the markings on the headpiece
|
|
quizzically. Indy is cleaning and loading a .45 automatic.
|
|
|
|
INDY
|
|
I knew the Germans would hire you,
|
|
Sallah. They couldn’t have an
|
|
excavation in the desert without
|
|
the best digger in Egypt.
|
|
|
|
SALLAH
|
|
All Arabs look alike to them, Indy.
|
|
|
|
INDY
|
|
Tell me about the map room at
|
|
Tanis.
|
|
|
|
SALLAH
|
|
We found it three days ago. I broke
|
|
through myself.
|
|
|
|
INDY
|
|
Those Nazis are moving awfully
|
|
fast.
|
|
|
|
SALLAH
|
|
The Frenchman is helping them.
|
|
|
|
Indy reacts.
|
|
|
|
INDY
|
|
44.
|
|
|
|
|
|
Belloq. So he got away from the
|
|
Indians. This is going to be more
|
|
interesting than 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 it is, 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.
|
|
|
|
|
|
53 EXT. HEAVILY TRAFFICKED CAIRO STREET - DAY 53
|
|
|
|
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
|
|
45.
|
|
|
|
|
|
I’m surprised at you, Indy. Talking
|
|
that way about our baby. He’s got
|
|
your looks, too.
|
|
|
|
INDY
|
|
And your brains.
|
|
|
|
As Indy and Marion turn a corner, the Monkey seems to
|
|
notice something and immediately jumps from Marion’s
|
|
shoulder and hurries off at a frantic pace down the street.
|
|
|
|
MARION
|
|
(looking disappointed)
|
|
Hey! Hey! -- where’re you going?
|
|
|
|
INDY
|
|
(dragging Marion along)
|
|
He’ll be OK. Come on. Come on.
|
|
|
|
|
|
54 EXT. ANOTHER CAIRO STREET - DAY 54
|
|
|
|
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 and the
|
|
MONKEY MAN ducks back behind some baskets.
|
|
|
|
|
|
55 EXT. ANOTHER BUSY CAIRO STREET - DAY 55
|
|
|
|
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.
|
|
|
|
|
|
56 EXT. A SMALL BAZAAR - DAY 56
|
|
46.
|
|
|
|
|
|
Indy and Marion have reached a tiny square, made even more
|
|
cramped by its use as a small bazaar. They have started
|
|
working their way through the crowd when several Bad Arabs
|
|
and a German Agent begin to converge on them. Indy
|
|
immediately sees what’s happening and pulls the bull whip
|
|
from his jacket. The first Bad Arab to reach them gets hit
|
|
in the mouth by the handle of the whip.
|
|
|
|
Now all hell breaks loose, with Bad Arabs, Innocent
|
|
Shoppers, baskets of fruit and tables of good 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, damnit! 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.
|
|
|
|
|
|
57 EXT. BETWEEN THE BUILDINGS - DAY 57
|
|
|
|
Marion runs along the narrow space and soon encounters a
|
|
five foot wall. She flops over it. The Bad Arab is right on
|
|
her heels. He reaches the wall and vaults over. On the
|
|
other side of the wall, the Bad Arab lands in a crouch,
|
|
looks ahead and doesn’t see Marion. Immediately a heavy
|
|
earthen pot smashes over his head, putting him out. Marion
|
|
steps from an alcove and starts to run toward the street at
|
|
the other end of the walkway. Suddenly another Bad Arab and
|
|
a new German Agent appear in the street at that end. Before
|
|
they can spot her, Marion retreats to the alcove again.
|
|
There is a huge rattan basket sitting there. Marion climbs
|
|
in and closes the top above her.
|
|
|
|
The only witness: the Monkey, who is now perched on the
|
|
five foot wall.
|
|
|
|
|
|
58 EXT. THE SMALL BAZAAR - DAY 58
|
|
|
|
Chaos. An entire booth of pots and pans collapses on a Bad
|
|
Arab and a German Agent as Indy whips away a support.
|
|
47.
|
|
|
|
|
|
59 EXT. BETWEEN THE BUILDINGS - DAY 59
|
|
|
|
The chattering Monkey leads a German Agent and two Bad
|
|
Arabs to Marion’s hiding place, gesturing manically.
|
|
|
|
|
|
60 EXT. THE SMALL BAZAAR - DAY 60
|
|
|
|
Indy ducks under the swinging blade of a huge Arabian sword
|
|
and kicks the Bad Arab Swordsman in the groin.
|
|
|
|
|
|
61 EXT. SIDE STREET - DAY 61
|
|
|
|
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. As 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!
|
|
|
|
|
|
62 EXT. THE SMALL BAZAAR - DAY 62
|
|
|
|
Indy has heard her. He looks across the square as the
|
|
basket and its escorts disappear beyond a building. One
|
|
last Bad Arab rises before him. Indy’s whip flashes and the
|
|
Bad Arab’s robe falls down to his ankles. Indy frantically
|
|
pushes his way through the panicked mass of humanity in the
|
|
direction the basket has gone.
|
|
|
|
|
|
63 EXT. THE FOOT CHASE - INTERCUTTING INDY AND THE MOVING 63
|
|
BASKET - DAY
|
|
|
|
The Bad Guys move the basket as fast as they can through
|
|
streets, alleys and passageways thick with people. Indy
|
|
always seems to round a corner just in time to catch a
|
|
glimpse of the basket before it disappears around a new
|
|
corner. Indy must fight a flow of humanity as powerful as
|
|
an ocean riptide. Finally, at the head of one particularly
|
|
crowded alley, Indy leaps up onto a wall for a clearer
|
|
view. Whatever he sees gives him an idea and he cuts
|
|
between two buildings rather than following the basket.
|
|
|
|
|
|
64 EXT. DESERTED ALLEY - DAY 64
|
|
48.
|
|
|
|
|
|
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.
|
|
|
|
|
|
65 EXT. DESERTED SQUARE - DAY 65
|
|
|
|
Indy rounds the corner and is immediately driven back by
|
|
machine gun fire. Taking cover, he gets quick, intermittent
|
|
glimpses of this scene: At the far corner of the large,
|
|
deserted square is a canvas-covered trunk. Two Bad Arabs
|
|
are hurrying toward it with a large rattan basket between
|
|
them, Marion screaming inside. A German Agent is covering
|
|
the 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.
|
|
|
|
|
|
66 EXT. BACK OF THE TRUCK - DAY 66
|
|
|
|
What Indy cannot see is that basket lands among an ominous
|
|
load of German munitions, dynamite and firearms. The truck
|
|
immediately peels out.
|
|
|
|
|
|
67 EXT. DESERTED SQUARE - DAY 67
|
|
|
|
The German Agent has stopped firing in order to drive. He
|
|
floors it, aiming for a street at the corner of the square.
|
|
Indy uses the lull to take careful aim at the German
|
|
Agent’s profile and fire off three careful shots. The
|
|
German Agent is hit, blasted dead against the steering
|
|
wheel. The speeding truck swerves, hits a wall, rolls over
|
|
and explodes in an enormous, multi-leveled eruption as its
|
|
contents ignite. Several surrounding buildings are leveled.
|
|
|
|
Indy, blown back across the square, looks on, astonished
|
|
and horror-stricken.
|
|
|
|
INDY
|
|
Marion.
|
|
|
|
|
|
68 INT. ARAB BAR - NIGHT 68
|
|
49.
|
|
|
|
|
|
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 it 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 pockets.
|
|
|
|
Indy notices them now with a bleary glance. He decides he’s
|
|
in no shape to kill or be killed and moves with them across
|
|
the room, taking his bottle with him. The Arab patrons take
|
|
this in and mind their own business.
|
|
|
|
The occupant of the smoke-shrouded corner table becomes
|
|
visible only as Indy reaches there: it is Emile Belloq. He
|
|
is drinking wine.
|
|
|
|
INDY
|
|
Belloq
|
|
|
|
BELLOQ
|
|
Good evening, Dr. Jones.
|
|
|
|
INDY
|
|
I ought to kill you right now.
|
|
|
|
BELLOQ
|
|
It was not I who brought the girl
|
|
into this dirty business.
|
|
|
|
Indy knows its true; that’s what’s tearing him up.
|
|
|
|
BELLOQ
|
|
Sit down, please, before you fall
|
|
down. We can behave as civilized
|
|
people. I’m afraid it will be your
|
|
last opportunity.
|
|
|
|
Indy sits, glancing at the German Henchmen, who settle
|
|
nearby, just out of earshot.
|
|
50.
|
|
|
|
|
|
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.
|
|
|
|
BELLOQ
|
|
(takes a sip of wine,
|
|
refers to it)
|
|
Terribly difficult finding a
|
|
descent vintage here. You were
|
|
quite vigorous in Shanghai.
|
|
Unfortunately, our friend the Wild
|
|
Boar had taken the precaution of
|
|
making several copies of the piece.
|
|
|
|
Indy registers this as he takes a drink. Belloq watches him
|
|
with disdainful amusement.
|
|
|
|
BELLOQ
|
|
How odd that it should end this way
|
|
for us, after so many --
|
|
stimulating encounters. I almost
|
|
regret it. Where shall I find a new
|
|
adversary so close to my own level?
|
|
|
|
INDY
|
|
Try the local sewer.
|
|
|
|
BELLOQ
|
|
I know you despise me. We always
|
|
hate in others that which we most
|
|
fear in ourselves. And you and I
|
|
are very much alike.
|
|
|
|
INDY
|
|
Now you’re getting nasty.
|
|
|
|
BELLOQ
|
|
We have always done the same kind
|
|
of work. Our methods have not
|
|
differed as much as you pretend. I
|
|
am a shadowy reflection of you. But
|
|
it would have taken only a nudge to
|
|
make you the same as me, to push
|
|
you out of the light.
|
|
51.
|
|
|
|
|
|
There is a certain amount of truth to this; the recognition
|
|
of it flickers across Indy’s bleary eyes. Belloq sees it
|
|
there.
|
|
|
|
BELLOQ
|
|
You know it to be true! How nice.
|
|
And how ironic the timing.
|
|
|
|
Belloq leans forward, eyes shining, voice suddenly
|
|
different.
|
|
|
|
BELLOQ
|
|
Do you realize what the Ark is?
|
|
(very intense)
|
|
It’s a transmitter.
|
|
|
|
BELLOQ
|
|
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 in the gloom at the German Henchmen.
|
|
|
|
BELLOQ
|
|
(quieter)
|
|
When the time is right. When I am
|
|
finished with it.
|
|
|
|
INDY
|
|
I hope your friends are patient.
|
|
Dangerous work, Belloq.
|
|
|
|
BELLOQ
|
|
Yes. Very. You may consider
|
|
yourself fortunate that your
|
|
involvement concludes here.
|
|
|
|
INDY
|
|
Tell me, did you get away with the
|
|
idol?
|
|
|
|
BELLOQ
|
|
(negative)
|
|
I was lucky to get away with my
|
|
life. The Hovitos proved quite
|
|
narrow-minded about the whole
|
|
matter.
|
|
|
|
Indy takes a drink.
|
|
52.
|
|
|
|
|
|
INDY
|
|
You know, if it’s God you want to
|
|
talk to, maybe I can arrange it.
|
|
|
|
BELLOQ
|
|
(smiles)
|
|
You have not changed. But, please,
|
|
do not reach for your weapon until
|
|
you are ready to die.
|
|
|
|
The front door of the bar slams open and all nine of
|
|
SALLAH’S CHILDREN scamper in and over to a surprised Indy.
|
|
Two of the smallest hop into his lap.
|
|
|
|
LITTLE SON
|
|
Uncle Indy, we have been looking
|
|
for you.
|
|
|
|
LITTLE DAUGHTER
|
|
Come home now, Uncle. Hurry!
|
|
|
|
Suddenly the Arab patrons of the bar take an intense
|
|
interest in the situation, shifting their weapons.
|
|
|
|
INDY
|
|
Yes. Yes, I’ll come now.
|
|
|
|
Indy stands up. The German Henchmen are 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.
|
|
|
|
|
|
69 INT. SALLAH’S TRUCK - IN FRONT OF ARAB BAR - NIGHT 69
|
|
|
|
Indy climbs into the cab of Sallah’s truck with a smiling
|
|
Sallah as the children pile into the back. Sallah pulls
|
|
out.
|
|
|
|
SALLAH
|
|
I thought we would find you there.
|
|
(indicating the kids)
|
|
Better than the United States
|
|
Marines, eh?
|
|
|
|
INDY
|
|
(nods)
|
|
Thank you.
|
|
53.
|
|
|
|
|
|
(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.
|
|
|
|
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.
|
|
54.
|
|
|
|
|
|
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 what I need.
|
|
|
|
The Monkey’s paw comes up over the edge of the table and
|
|
grabs another date.
|
|
|
|
INDY
|
|
How ‘bout the height of the staff?
|
|
Did Belloq get it off of there?
|
|
|
|
AMIR
|
|
Yes -- it is here.
|
|
|
|
Indy, nervous, goes back to the food tray, picks up another
|
|
date. When he turns back to the men, the Monkey’s paw grabs
|
|
another date.
|
|
|
|
We see the headpiece in closeup on the table. Amir’s
|
|
crooked fingers trace a line of markings along the bottom
|
|
section to the break in the piece.
|
|
|
|
AMIR
|
|
It says it is -- ten jamirs high --
|
|
|
|
SALLAH
|
|
About seventy-five inches.
|
|
|
|
AMIR
|
|
Wait! I am not finished --
|
|
|
|
Amir’s finger moves across the break as the markings
|
|
continue on the sun medallion.
|
|
|
|
AMIR
|
|
(reading)
|
|
“And one jamir to honor the Hebrew
|
|
God whose Ark this is.”
|
|
|
|
Indy, still holding the date, exchanges a long look with
|
|
Sallah.
|
|
55.
|
|
|
|
|
|
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 date in his hand and flips it
|
|
high in the air. He opens his mouth to catch it, but it
|
|
doesn’t come down. He has inadvertently thrown it into a
|
|
bowl of a hanging lamp. This makes the men laugh even
|
|
harder.
|
|
|
|
Indy goes over and picks up another date. He turns laughing
|
|
to Sallah and doesn’t see as the Monkey’s paw comes up,
|
|
slowly, takes another date and begins to withdraw. Suddenly
|
|
the paw is stricken with palsy and the unseen Monkey goes
|
|
into its death throws. Sallah watches the paw as though
|
|
hypnotized. Finally the paw slips from sight and we hear a
|
|
solid THUMP! on the floor. Sallah walks around the table
|
|
and looks at the floor. The Monkey lies dead among a mess
|
|
of date pits.
|
|
|
|
Indy is in a happy world of his own. He throws his date
|
|
high in the air. He positions himself under it and waits
|
|
for it to drop in. Here it comes. Right on target. As it’s
|
|
about to disappear into Indy’s mouth, Sallah’s hand flashes
|
|
in and grabs it. Indy looks mystified and disappointed.
|
|
Sallah motions toward the dead Monkey.
|
|
|
|
SALLAH
|
|
Bad dates.
|
|
|
|
|
|
70 EXT. DESERT ROAD - MORNING 70
|
|
56.
|
|
|
|
|
|
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 car 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.
|
|
|
|
|
|
71 EXT. RISE ABOVE THE TANIS DIG - MORNING 71
|
|
|
|
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?
|
|
57.
|
|
|
|
|
|
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.
|
|
|
|
|
|
72 EXT. THE TANIS DIGS - MORNING 72
|
|
|
|
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
|
|
goes behind a tent and when it appears on the other side,
|
|
Indy and Sallah are gone.
|
|
|
|
|
|
73 EXT. AMONG THE TENTS - MORNING 73
|
|
|
|
Indy and Sallah move stealthily among the tents. Indy
|
|
carries a smooth wooden staff almost seven feet tall. They
|
|
stop between two tents and look across a path at the
|
|
entrance to the map room. What appeared to be a mound of
|
|
dirt is actually the roof on the ancient building. The
|
|
hole/entrance is a five-foot square skylight. Indy looks
|
|
around, then walks casually to the edge of the hole and
|
|
looks inside. Sallah joins him, producing a length of rope
|
|
from his robes. Indy drops the staff into the unseen map
|
|
room as Sallah ties the rope around an oil drum. When it’s
|
|
secure, Indy wastes no time disappearing down it into the
|
|
map room.
|
|
|
|
|
|
74 INT. MAP ROOM 74
|
|
|
|
Indy is down the twenty feet to the floor of the room in
|
|
seconds. He tugs on the rope and it immediately gets pulled
|
|
up. Indy looks around with real wonder and excitement. The
|
|
room is lovely, with elaborate wall carvings and frescoes,
|
|
all lit by the bright stream of sunlight flooding in from
|
|
above. This beam of light leads Indy’s eye to the far end,
|
|
and the room’s truly remarkable feature: built into the
|
|
floor in meticulous relief is a miniature stone model of
|
|
the ancient city of Tanis. Already, the sunlight has worked
|
|
its way down the far wall and is edging onto the miniature
|
|
of the city. On the floor, to the skylight side of the
|
|
miniature, is an elaborate line created by embedded mosaic
|
|
tiles. The evenly spaced slots in the line, each
|
|
accompanied by a symbol of a time of year, are for the base
|
|
of the staff. Indy pulls the headpiece from his robes it
|
|
has been welded together and reaches for the staff.
|
|
58.
|
|
|
|
|
|
75 EXT. ABOVE THE MAP ROOM - DAY 75
|
|
|
|
An extremely nervous Sallah has the gathered rope in his
|
|
hands and is trying to appear casual as he inches back
|
|
toward the oil drum. There is now a good bit of activity
|
|
going on up here.
|
|
|
|
JEEP GERMAN (O.S.)
|
|
Hey! You, the skinny one!
|
|
|
|
Sallah jumps about three feet. The JEEP GERMAN is standing
|
|
in an open space ten yards away looking at Sallah.
|
|
|
|
JEEP GERMAN
|
|
Yes, you. What are you doing there?
|
|
|
|
Sallah gestures his innocence.
|
|
|
|
JEEP GERMAN
|
|
Well bring that rope over here, you
|
|
cur.
|
|
|
|
The Jeep German starts back toward his major concern: his
|
|
jeep is stuck in some sand beyond the next tent. Some Arab
|
|
Workers are trying in vain to budge it. Now another German
|
|
has backed his truck up to it. Sallah can think of nothing
|
|
to do except obey. With a worried glance at the map room,
|
|
he begins untying the rope from the oil drum.
|
|
|
|
|
|
76 INT. THE MAP ROOM 76
|
|
|
|
Indy is examining the results of Belloq’s work. Red paint
|
|
marks one of the miniature buildings in the layout and a
|
|
white calibrated tape has been strung from that building
|
|
back to a miniature of the map room. Now Indy begins
|
|
examining the mosaic base line for the staff. Sunlight has
|
|
moved further down across the miniature.
|
|
|
|
|
|
77 EXT. IN THE CAMP - DAY 77
|
|
|
|
Sallah watches nervously as his precious rope is pulled
|
|
taut between the pulling truck and the stuck jeep. He
|
|
doesn’t notice that he has chosen to stand next to a large,
|
|
steaming kettle of food until --
|
|
|
|
HUNGRY GERMAN (O.S.)
|
|
Bring us some of that!
|
|
|
|
He points to the kettle. Sallah looks frantically from the
|
|
rope, back to the skylight of the map room, to the kettle
|
|
of food.
|
|
59.
|
|
|
|
|
|
HUNGRY GERMAN
|
|
Now, idiot!
|
|
|
|
Sallah picks up some serving pieces and gets to work.
|
|
|
|
|
|
78 INT. THE MAP ROOM 78
|
|
|
|
The moment has arrived. Even the tension of the
|
|
circumstances cannot distract Indy from the purity of what
|
|
he is about to do. All his calculations are adjustments
|
|
complete, Indy takes the Staff of Ra and places it --
|
|
CLINK! -- in the right depression on the base line. This is
|
|
as active and exciting moment as any archeologist can dream
|
|
of and, at heart, that is exactly what Indy is. The
|
|
sunlight catches the very top of the headpiece and moves
|
|
within a fraction of an inch of the tiny hole in its sun.
|
|
The edge of the sunlight moving across the miniature city
|
|
is still a good two feet beyond the spot Belloq has settled
|
|
on. And now that line of light is broken by the shadow of
|
|
an ornate sun at the top of the staff.
|
|
|
|
Indy’s face reflects his concentration. And then his
|
|
immense pleasure. He sees what he came for.
|
|
|
|
Out of the miniature city, one small building is being lit
|
|
by a tiny beam of sunlight in the center of the shadow of
|
|
the metal sun. And by some trick of ancient artistry, this
|
|
one building responds to the sunlight like none of the
|
|
others. The golden light permeates it: it seems to glow.
|
|
The building is in a direct line with Belloq’s, all of the
|
|
Frenchman’s other calculations were right but it is a foot
|
|
and a half beyond it.
|
|
|
|
|
|
79 EXT. IN THE CAMP - DAY 79
|
|
|
|
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.
|
|
|
|
|
|
80 INT. MAP ROOM 80
|
|
60.
|
|
|
|
|
|
Indy is on his knees at the miniature city, a special tape
|
|
measure in his hand. Indy has the tape strung from Belloq’s
|
|
mistaken spot to his own correct spot. He gets his reading,
|
|
leaps up and crosses to the erect staff. He pulls the
|
|
headpiece off the staff and hides it in his robes. He
|
|
quickly breaks the wooden staff in two and throws the
|
|
pieces behind a pile of debris. Then he moves quickly to
|
|
beneath the skylight.
|
|
|
|
INDY
|
|
(stage whisper)
|
|
Sallah.
|
|
(he waits, then louder)
|
|
Sallah!
|
|
|
|
More waiting. Nothing. Indy looks around for some
|
|
alternative means of escape. The room doesn’t offer any. He
|
|
looks up at the skylight again.
|
|
|
|
INDY
|
|
(loudest)
|
|
Sallah!
|
|
|
|
A long pause. Then something comes down. A makeshift rope.
|
|
Really just a bunch of clothing tied together, tunics,
|
|
robes, pants. But what we see first and most prominently,
|
|
the first section of Indy’s escape rope, is a bright Nazi
|
|
flag. Indy beams and climbs.
|
|
|
|
|
|
81 EXT. ABOVE THE MAP ROOM - DAY 81
|
|
|
|
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
|
|
walking toward some tents.
|
|
|
|
HUNGRY GERMAN (O.S.)
|
|
Hey, you! More water over here!
|
|
|
|
Sallah glances at Indy, then hurries back in that
|
|
direction. The Hungry German focuses on Indy.
|
|
|
|
HUNGRY GERMAN
|
|
Why aren’t you at the digs? Come
|
|
here!
|
|
|
|
Indy bows in wild subservience and hurries off in the
|
|
opposite direction.
|
|
|
|
HUNGRY GERMAN
|
|
61.
|
|
|
|
|
|
(yelling after him,
|
|
irriated)
|
|
No, dummkopf, I said come!
|
|
|
|
|
|
82 EXT. BETWEEN TWO TENTS - DAY 82
|
|
|
|
Indy hustles between the tents. Up ahead, two German
|
|
Officers stop to talk, blocking his exit. He moves along
|
|
the side of one of the tents until he finds an opening and
|
|
slips inside.
|
|
|
|
|
|
83 INT. THE TENT 83
|
|
|
|
Indy finds himself in a tent set up for rather comfortable
|
|
living. He has just started to cross it when he hears a
|
|
loud, excited grunting. He turns toward the sound. In the
|
|
corner, tied to a chair and gagged is Marion. Indy rushes
|
|
to her, snatches the gag from her mouth and embraces her.
|
|
They kiss, deep and long.
|
|
|
|
INDY
|
|
I thought 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.
|
|
62.
|
|
|
|
|
|
MARION
|
|
(louder)
|
|
Cut me loose!
|
|
|
|
INDY
|
|
Keep your voice down.
|
|
|
|
MARION
|
|
(screaming)
|
|
I said get me out of --
|
|
|
|
Indy pops the gag back in her mouth. Her eyes widen in fury
|
|
and she grunts obscenities at him.
|
|
|
|
INDY
|
|
Look, you don’t know how glad I am
|
|
to see you. And I don’t like doing
|
|
this. But the whole thing will be
|
|
shot if you don’t just sit here
|
|
quietly. They haven’t hurt you in
|
|
the last twenty-four hours, they
|
|
aren’t going to start now. I’ll be
|
|
back to get you in no time.
|
|
|
|
He kisses her forehead, jumps up and hurries out of the
|
|
tent.
|
|
|
|
|
|
84 EXT. SAND DUNE OUTSIDE DIGS - DAY 84
|
|
|
|
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.
|
|
|
|
|
|
85 EXT. DIFFERENT DUNE - DAY 85
|
|
|
|
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!
|
|
|
|
|
|
86 EXT. INDY’S DIG - DAY 86
|
|
63.
|
|
|
|
|
|
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 Well
|
|
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.
|
|
|
|
|
|
87 INT. COMMAND TENT - TANIS DIGS - NIGHT 87
|
|
|
|
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 feelings the isolation of a scapegoat.
|
|
Belloq gets himself a drink as Shliemann towels off his
|
|
face.
|
|
|
|
BELLOQ
|
|
I cautioned you about being
|
|
premature with that communique to
|
|
Berlin. Archeology is not an exact
|
|
science. It does not adhere to time
|
|
schedules.
|
|
|
|
SHLIEMANN
|
|
The Fuhrer is not a patient man. He
|
|
demands constant reports and he
|
|
expects progress. You led me to
|
|
believe --
|
|
|
|
BELLOQ
|
|
Nothing. I have made no promises. I
|
|
said only that it looked very
|
|
favorable. Perhaps the Ark will
|
|
still be found in an adjoining
|
|
chamber. Based on the information
|
|
in our possession, my calculations
|
|
were correct. Perhaps some bit of
|
|
evidence still eludes us. Perhaps -
|
|
-
|
|
|
|
GOBLER
|
|
Perhaps the girl can help us.
|
|
64.
|
|
|
|
|
|
Belloq shoots him an angry look.
|
|
|
|
SHLIEMANN
|
|
My feeling exactly. She was in
|
|
possession of the original piece
|
|
for years. She may know much.
|
|
(really evil)
|
|
If properly motivated --
|
|
|
|
BELLOQ
|
|
I tell you, she knows nothing
|
|
useful.
|
|
|
|
SHLIEMANN
|
|
I’m surprised to find you
|
|
squeamish. That is not your
|
|
reputation. But it needn’t concern
|
|
you. I have the perfect man for
|
|
this kind of work.
|
|
|
|
Shliemann signals Gobler, who steps outside the tent a
|
|
moment, calls someone and then reappears. Belloq looks
|
|
warily at the entrance. After a moment Belzig enters,
|
|
reeking villiany. When his eyes find Shliemann, his
|
|
superior, he snaps a crisp “Heil, Hitler!” at him, holding
|
|
his palm rigid a long time, exposing a burned scar in the
|
|
perfect shape of the sun medallion.
|
|
|
|
|
|
88 EXT. INDY’S DIG - NIGHT 88
|
|
|
|
In the eerie conjunction of moonlight and torchlight, Indy
|
|
and the other men step back in awe of their discovery:
|
|
there, flush with the bottom of their pit, is a heavy stone
|
|
entry door to an underground chamber. Special prying tools
|
|
are produced. With two men assigned to each of the two long
|
|
tools, they work in unison to open the vault. They open it
|
|
a foot and the two 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.
|
|
65.
|
|
|
|
|
|
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 thick dark carpet is moving. It’s alive.
|
|
It’s thousands and thousands of deadly poisonous snakes.
|
|
Egyptian asps. And the only thing that seems capable of
|
|
avoiding this venomous 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 has 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.
|
|
|
|
|
|
89 INT. THE WELL OF THE SOULS 89
|
|
66.
|
|
|
|
|
|
Fifteen torches have been dropped to the floor of the
|
|
chamber, combining to make a good-sized clear zone. Smoke
|
|
begins to fill the room. Several canisters of oil have been
|
|
lowered into this space. Now, a large wooden crate is
|
|
lowered slowly by rope. Rope handles are attached to each
|
|
end of the crate.
|
|
|
|
Up at the hole, Indy gives Sallah a reassuring pat, takes a
|
|
breath, and swings carefully onto a rope hanging from the
|
|
hole. Despite his care, he swings a bit and his feet hit
|
|
the stone pillar which is so near the entry. Surprisingly,
|
|
the pillar casually 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 beings to open 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.
|
|
|
|
|
|
90 INT. MARION’S TENT 90
|
|
|
|
Belloq has been talking to the still-bound Marion. He has
|
|
removed her gag. He is impatient, angry, uncomfortable.
|
|
Caught between two forces.
|
|
|
|
BELLOQ
|
|
Believe me, you made a mistake. If
|
|
you would just give me something to
|
|
placate them. Some bit of
|
|
information.
|
|
|
|
MARION
|
|
I swear to you, I know nothing
|
|
more. I have no loyalty to Jones.
|
|
He’s brought me only trouble.
|
|
|
|
He wants to believe her.
|
|
|
|
BELLOQ
|
|
I cannot control them.
|
|
|
|
Marion’s frightened look shifts suddenly to the entrance of
|
|
the tent. There are a few new arrivals there, Shliemann,
|
|
Govler and Belzig. Belzig carries a black leather case. He
|
|
steps forward and smiles at Marion.
|
|
67.
|
|
|
|
|
|
BELZIG
|
|
We meet again, Fraulein.
|
|
|
|
|
|
91 EXT. INDY’S DIG - JUST BEFORE DAWN 91
|
|
|
|
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.
|
|
|
|
|
|
92 INT. THE WELL OF THE SOULS 92
|
|
|
|
Indy and Sallah are on the altar. Pushing together with all
|
|
their strength, the heavy stone top of the protective chest
|
|
begins to slide away. Indy and Sallah exchange slightly
|
|
wary but very excited looks, then continue to push. As the
|
|
Ark begins to be exposed, the air seems to almost vibrate,
|
|
to become electrostatically charged. We hear what sounds
|
|
like a low HUM. The sea of snakes around the altar draws
|
|
back further from this presence.
|
|
|
|
As the top of the stone chest is pushed completely off and
|
|
slams down beside it, we see THE LOST ARK OF THE COVENANT.
|
|
It is awesomely beautiful, breathtaking. 4 feet long, 2.5
|
|
feet wide and 2.5 feet high. It’s height, however, is
|
|
increased by the two sculptured gold angels mounted facing
|
|
each other on the top. Though the body of the Ark is acacia
|
|
wood, it has been overlaid with gold. An elaborate gold
|
|
crown surrounds the top edge and gold carrying rings are
|
|
attached to each corner.
|
|
|
|
Sallah is mesmerized by the sight. His hand starts to reach
|
|
out and touch one of the angels, but Indy grabs it.
|
|
|
|
INDY
|
|
Don’t touch it! Never touch it!
|
|
|
|
The wooden crate stands open next to the stone chest. Now
|
|
Indy extracts the wooden poles from its rings and begins
|
|
fitting them through the rings in the Ark. This takes some
|
|
maneuvering by the two men, but soon they are able to lift
|
|
the Ark clear of the stone chest and into the wooden crate.
|
|
|
|
They extract the poles, fasten the top of the crate and
|
|
stick the poles through the rings of the wooden crate. They
|
|
start back toward the space under the hole. The fire strips
|
|
have begun to dwindle, as have some of the torches. The
|
|
snakes move slowly in toward the clear spaces.
|
|
68.
|
|
|
|
|
|
Indy and Sallah eye them nervously as they hurry along with
|
|
their heavy load. Under the hole, they hurriedly attach
|
|
ropes to the wooden crate and it is pulled up. Indy’s
|
|
concentration is on the tide of snakes.
|
|
|
|
INDY
|
|
Hurry up! Why did it have to be
|
|
snakes?
|
|
|
|
Sallah takes the next rope and climbs quickly out of the
|
|
Well. Indy has picked up a torch and now throws it at a
|
|
pool of snakes who are too close for his comfort. He turns
|
|
and takes hold of the exit rope. He gives it a first tug
|
|
and it falls down into the Well, landing partly beyond the
|
|
ring of fire where it 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)
|
|
|
|
BELLOQ
|
|
I think we are all very comfortable
|
|
up here.
|
|
|
|
|
|
93 EXT. INDY’S DIG - DAWN 93
|
|
|
|
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)
|
|
69.
|
|
|
|
|
|
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.
|
|
|
|
|
|
94 INT. WELL OF THE SOULS 94
|
|
|
|
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 gives 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 the torch, braces, and catches her!
|
|
Her weight knocks him to the ground, almost into the
|
|
snakes. She looks around at the snakes, clinging to him
|
|
more desperately as he struggles to his feet trying to
|
|
unload her.
|
|
|
|
MARION
|
|
Don’t put me down!
|
|
|
|
Up at the hole, there’s plenty of dissension.
|
|
|
|
BELLOQ
|
|
The girl was mine!
|
|
|
|
SHLIEMANN
|
|
She is of no use to us. Only our
|
|
mission for the Fuhrer matters.
|
|
|
|
Shliemann glances meaningfully around at the other Nazis.
|
|
|
|
SHLIEMANN
|
|
I wonder sometimes, Monsieur, if
|
|
you have that clearly in mind.
|
|
|
|
Belloq feels how much he is the outsider, his own
|
|
vulnerability. He backs down with the wisdom of survival.
|
|
He turns to look down at Indy and Marion. His manner is
|
|
gallant.
|
|
|
|
BELLOQ
|
|
Goodbye, mademoiselle.
|
|
70.
|
|
|
|
|
|
(a pause, then with
|
|
respect)
|
|
Indiana Jones -- adieu!
|
|
|
|
Belloq and the others step back from the hole and unseen
|
|
Nazis slam the heavy stone door into place. Marion screams.
|
|
|
|
Her scream is accompanied by --
|
|
|
|
A huge WHOOSH! as air is sucked out and the chamber is
|
|
sealed. Half of the torches still burning go out with the
|
|
sound. The remaining torches continue to extinguish at
|
|
punctuating intervals throughout the following action and
|
|
the snakes immediately flood into the newly-darkened
|
|
spaces. Indy puts Marion down and snatches up two burning
|
|
torches. He hands one to Marion.
|
|
|
|
INDY
|
|
Don’t panic. There’s plenty of time
|
|
for that later. Wave that at
|
|
anything that slithers.
|
|
|
|
Indy holds his torch out like a lantern and begins a slow
|
|
360o turn, his eyes peering into the gloom, examining every
|
|
inch of the wall and ceiling.
|
|
|
|
MARION
|
|
What are you doing?
|
|
|
|
INDY
|
|
Just watch the floor.
|
|
|
|
Reminded of the encroaching snakes, Marion waves her torch
|
|
at the nearest edge of their circle. She looks faint. Indy
|
|
continues his slow turn.
|
|
|
|
MARION
|
|
Whatever you’re doing, do it
|
|
faster.
|
|
|
|
INDY
|
|
(he spots something)
|
|
There!
|
|
|
|
His head whips around, looking at the pillars around the
|
|
room. He sees what he wants. He grabs one of the oil
|
|
canisters, looks back to the spot on the wall he’s chosen
|
|
and splashes oil on the floor in that direction, then
|
|
lights it. A path opens toward that wall.
|
|
|
|
INDY
|
|
Come on!
|
|
71.
|
|
|
|
|
|
Marion is frozen in her spot. Indy drags her after him. He
|
|
splashes oil the rest of the way to the wall. It lights and
|
|
Indy pulls Marion over to the wall. He pours the remaining
|
|
oil in a circle around them, creating a safe zone there.
|
|
|
|
INDY
|
|
Stay here!
|
|
|
|
MARION
|
|
(grabbing him)
|
|
Where are you going?
|
|
|
|
INDY
|
|
I’ll be back in a minute. We’re
|
|
going through this wall.
|
|
|
|
Marion looks at the wall, which looks like all the rest to
|
|
her. She thinks he’s crazy.
|
|
|
|
INDY
|
|
Just keep your eyes open and get
|
|
ready to run. No matter what
|
|
happens to me.
|
|
|
|
MARION
|
|
(panicked)
|
|
What do you mean?
|
|
|
|
Too late. Indy runs back through the path of flames to the
|
|
center of the room. Snakes strike at his flying heels. Indy
|
|
reaches the base of the pillar which he touched briefly on
|
|
his original descent. He uses the torch to clear away the
|
|
scattered snakes climbing on it, then pulls out his whip.
|
|
He draws it back, then wraps it solidly around the pillar
|
|
15 feet up. With the torch in his mouth, he beings climbing
|
|
the pillar. It moves ominously under his weight.
|
|
|
|
The last two torches still burning on the floor go out. Now
|
|
the only light in the chamber is provided by the torches
|
|
held by Indy and Marion and the dwindling oil flames.
|
|
Snakes move in and surround the base of Indy’s pillar. The
|
|
path between Marion and the center of the room is overrun.
|
|
The circle of flame around Marion is dying down.
|
|
|
|
She looks beyond it with terror-widened eyes, then up
|
|
through the increasing smoke at the distant Indy.
|
|
72.
|
|
|
|
|
|
Near the top of the pillar, Indy’s hands strain along his
|
|
taut whip, which he has moved 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’s 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 the pillar and wall.
|
|
|
|
MARION (O.S.)
|
|
(screaming)
|
|
Where are you?!
|
|
|
|
Snakes are moving in force up the pillar toward Indy’s
|
|
dwindling torch. Indy grasps the pillar for dear life,
|
|
grimaces with exertion and pushes against the wall with all
|
|
he’s got. The pillar begins to break loose of the ceiling,
|
|
then stops. Indy’s eyes are on the torch. It is just a spot
|
|
of flame now. Snakes are sliding up toward his hands. Indy
|
|
again pushes against the wall and torch falls out of his
|
|
mouth.
|
|
|
|
The pillar goes! In the dim light, we see it fall like a
|
|
tree directly at Marion. Indy rides it down. The top hits
|
|
the wall three feet from a cringing Marion and smashes
|
|
through to a black chamber beyond. Indy flies off into the
|
|
darkness. Gone. Marion clutches her torch at the black
|
|
hole.
|
|
|
|
MARION
|
|
Indy! Where are you?! Please Lord!
|
|
|
|
There is a moment that seems an eternity, then Indy appears
|
|
like an apparition out of the void.
|
|
|
|
INDY
|
|
Come on!
|
|
|
|
He grabs her and helps her over the remains of the wall
|
|
into --
|
|
|
|
|
|
95 INT. THE CATACOMBS 95
|
|
|
|
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?
|
|
73.
|
|
|
|
|
|
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 sarcophagus; a
|
|
room decorated with a thousand human skulls; a wall
|
|
crawling with huge scabbard 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.
|
|
|
|
|
|
96 EXT. THE TANIS DIGS - NEAR AIRSTRIP - DAY 96
|
|
|
|
Indy and Marion peek out into the light from the shadows of
|
|
an abandoned excavation. Before them is the improvised
|
|
airstrip serving the digs: a crude runway, a tent supply
|
|
depot, two fuel tank trucks. Down by the fuel trucks a
|
|
German Mechanic is looking skyward. Now Indy and Marion
|
|
look there too, drawn by the roaring sound of --
|
|
|
|
A Flying Wing, which is circling over the digs in
|
|
preparation to landing.
|
|
|
|
Now a new figure approaches the German Mechanic. It is
|
|
Gobler; he yells to the mechanic, indicating the plane.
|
|
|
|
GOBLER
|
|
74.
|
|
|
|
|
|
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
|
|
already going to be on that plane.
|
|
|
|
The Flying Wing rolls up into the space near the fuel
|
|
trucks. The German Mechanic puts blue blocks in front of
|
|
the tires as the engines continue to roar.
|
|
|
|
Indy and Marion run in a crouch to a hiding spot closer to
|
|
the plane, near the supply tent. Suddenly, a Second German
|
|
Mechanic appears behind them. He is as surprised as they
|
|
are, but recovers quickly and swings a monkey wrench at
|
|
Indy. Indy grabs the swinging arm and the two men tumble
|
|
out into the open, wrestling. Marion remains hidden, moving
|
|
fast among the crates.
|
|
|
|
The first German mechanic, who is just pulling the fuel
|
|
hose from the tank truck to the plane, sees the combatants
|
|
and runs to help his countryman. He is almost upon them
|
|
when Indy puts the Second German away with a devastating
|
|
left, right, left combination. He turns to find the first
|
|
German Mechanic flying at him. The roll toward the rear of
|
|
the Flying Wing and its lethally spinning reversed
|
|
propellers.
|
|
|
|
In the cockpit of the Flying Wing, the Pilot has been
|
|
fiddling with his gauges just prior to shutting off his
|
|
engines. Now he notices the fight going on outside.
|
|
|
|
The fistfight between Indy and the German Mechanic has
|
|
taken on a new stomach-tightening dimension. The men are
|
|
fighting and flailing in and out between the spinning props
|
|
at the back of the plane’s wings. Each man comes within
|
|
inches of the becoming instant mincement.
|
|
75.
|
|
|
|
|
|
The Pilot slides away the top of his cockpit and stands up.
|
|
He pulls a Lugar from his side and points it, waiting for a
|
|
clear shot at Indy. The German Mechanic kicks Indy away
|
|
from him and the Pilot aims his pistol. Suddenly, Marion
|
|
appears behind the Pilot, standing on the opposite wing,
|
|
and bashes him over the head with one of the blue blocks
|
|
that was holding the tires. The Pilot drops down into the
|
|
cockpit, his body falling on the throttle. The engines roar
|
|
louder, revving up. The plane begins to roll, rotating
|
|
around its one still-blocked set of tires. Marion grabs
|
|
onto the cockpit to keep from slipping into the props. She
|
|
bends into the cockpit, trying to pull the Pilot’s body off
|
|
the throttle. No luck. She grimaces and climbs inside. Her
|
|
shoulder bumps the top of the cockpit; it slides tightly
|
|
shut above her.
|
|
|
|
Under the moving wing, Indy delivers a knockout right cross
|
|
to the German Mechanic which sends him staggering back
|
|
toward a roaring propeller. Indy’s grimace registers the
|
|
man’s demise and a fine mist of blood wafts toward him.
|
|
Indy spins toward the sound of crumpling metal and sees --
|
|
|
|
The other top of the Flying Wing slice into a tank truck.
|
|
The airplane fuel inside floods out onto the pavement,
|
|
surrounding the plane. Indy backpedals away from the plane,
|
|
his eyes searching the scene for Marion. Suddenly, he is
|
|
shocked to see her in the cockpit. He runs toward her,
|
|
skidding through the gasoline.
|
|
|
|
INDY
|
|
Get out! Get out!
|
|
|
|
Marion is struggling with the top of the cockpit. She can’t
|
|
budge it. She’s trapped.
|
|
|
|
|
|
97 EXT. THE COMMAND TENT - DAY 97
|
|
|
|
Three Armed Nazis stand guard around the wooden crate
|
|
containing the Ark. It is sitting near the flopped-open
|
|
entrance to the Command Tent and there is furious activity
|
|
going on here. Belloq, Shliemann, Golber, Belzig and
|
|
assorted Aides are packing up all the papers and personal
|
|
items in preparation for a hasty departure.
|
|
|
|
A large crowd of Arab Diggers are milling about among the
|
|
tents. They all want to get a look at the Ark. Sallah is
|
|
among them. All at once, there is an earthshaking
|
|
explosion. All eyes turn toward the rise that hides the
|
|
airstrip. A huge fireball floats into view over there.
|
|
Everyone starts running toward it. Shliemann yells at
|
|
Belzig and the Armed Nazis.
|
|
76.
|
|
|
|
|
|
SHLIEMANN
|
|
Stay with the Ark!
|
|
|
|
|
|
98 EXT. THE RISE ABOVE AIRSTRIP - DAY 98
|
|
|
|
Almost all the Arabs and Germans in the digs have
|
|
congregated here and are staring at the burning remains of
|
|
the Flying Wing. Belloq and Shliemann arrive just as the
|
|
second fuel tank blows up. The concussion knocks many of
|
|
the observers flat. Belloq, Shliemann and Gobler watch the
|
|
scene in alarm.
|
|
|
|
SHLIEMANN
|
|
Sabotage!
|
|
|
|
BELLOQ
|
|
We must get the Ark away from this
|
|
place immediately!
|
|
|
|
SHLIEMANN
|
|
(to Gobler)
|
|
Have it put on the truck. We’ll fly
|
|
out of Cairo.
|
|
|
|
Gobler snaps his heels, turns to go.
|
|
|
|
SHLIEMANN
|
|
And Gobler --
|
|
(Gobler stops)
|
|
-- I want plenty of protection.
|
|
|
|
Gobler nods and runs off. Shliemann heads back toward camp.
|
|
|
|
Belloq hesitates a long moment, studying the burning
|
|
wreckage with an odd, suspicious look. Finally, he turns
|
|
and leaves, passing a nearby stack of barrels. When he has
|
|
passed, Sallah appears from among the barrels. He searches
|
|
the crowd for his people and starts a broken field run
|
|
along some tents to avoid a group of Germans and is running
|
|
flat-out when someone sticks out a leg and sends him
|
|
flipping. Sallah, dust all over his face, looks angrily
|
|
toward the concealed culprit. At once, a flashing white
|
|
grin splits his darkened face. Indy and Marion, splotched
|
|
with soot and oil, are hiding in the flap of a tent. Sallah
|
|
runs into their arms and the three embrace warmly. When
|
|
they break --
|
|
|
|
SALLAH
|
|
Holy smoke, my friends! I am so
|
|
pleased you are not dead.
|
|
|
|
MARION
|
|
77.
|
|
|
|
|
|
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.
|
|
|
|
|
|
99 EXT. AMONG THE TENTS - DAY 99
|
|
|
|
Sallah, Indy and Marion run into a hiding spot behind some
|
|
water barrels near the Command Tent. They peek out at this
|
|
activity --
|
|
|
|
In the big space near the Command Tent is parked an open
|
|
German staff car; inside is a Blond Driver and an Armed
|
|
Guard. Directly behind it is a canvas-topped troop truck.
|
|
At this moment, Belloq and Shliemann are supervising the
|
|
careful placement of the crated Ark in the back of the
|
|
truck. When it is securely placed inside, we hear an
|
|
ominous marching sound and Nine Armed Nazis appear at a
|
|
trot from between some tents and climb into the back of the
|
|
truck with the Ark.
|
|
|
|
Behind the water barrels, Sallah and Marion exchange
|
|
hapless looks, but Indy just concentrates on --
|
|
|
|
The scene by the truck: Belloq and Shliemann are about to
|
|
climb into the front staff car when they pause to check out
|
|
the final component of the convoy. Rolling into place
|
|
behind the truck is another open staff car. But this one is
|
|
special, mounted in the back is a big, black machine gun,
|
|
manned by a Gunner. At the wheel of the car is Gobler and
|
|
next to him sits Belzig.
|
|
|
|
Sallah and Marion look at Indy. Belloq and Shliemann climb
|
|
in the back seat of the front car and the caravan pulls
|
|
out.
|
|
|
|
Indy watches it go, thinking hard.
|
|
|
|
INDY
|
|
You two get back to Cairo quick and
|
|
get us transportation to England --
|
|
a plane, a ship, anything.
|
|
|
|
MARION
|
|
78.
|
|
|
|
|
|
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.
|
|
|
|
|
|
100 EXT. AT THE EDGE OF THE DIGS - DAY 100
|
|
|
|
From among the tents, Indy suddenly bursts into view,
|
|
happily astride a magnificent white Arabian stallion. He
|
|
gallops off across the desert.
|
|
|
|
|
|
101 EXT. THE DESERT - VARIOUS SHOTS - DAY 101
|
|
|
|
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.
|
|
|
|
|
|
102 EXT. DESERT ROAD - DAY 102
|
|
|
|
The convoy is entering rougher country. The narrow mountain
|
|
road we’ve seen earlier ascends ahead. To the wide 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 at Indy, the
|
|
bullets kicking up sand near Indy’s horse.
|
|
79.
|
|
|
|
|
|
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 Inyd kicks
|
|
his foot away and floors the gas pedal. The truck doubles
|
|
its speed and shoots onto the steep mountain road.
|
|
|
|
|
|
103 EXT. MOUNTAIN ROAD - DAY 103
|
|
|
|
The Blond Driver of the front staff car sees the truck move
|
|
up on him in the rearview mirror and speeds up. Belloq,
|
|
Shliemann and the Armed Guard in the car twist around to
|
|
look at the struggle in the truck. The Blond Driver begins
|
|
what will be a continuing preview of the twists in the
|
|
road. He turns his wheel sharply and takes the lead car
|
|
around a bend.
|
|
|
|
In the cab of the truck, Indy and the Truck Driver stop
|
|
their fight temporarily and cooperate in turning the
|
|
steering wheel. The truck barely stays on the road.
|
|
|
|
A full view reveals the incredible geography of this ride.
|
|
The convoy is tiny against the spectacular mountainside,
|
|
the cliffs drop hundreds of feet.
|
|
|
|
At the wheel of the rear car, Gobler swerves to stay on the
|
|
road and accidentally sideswipes a boulder. The Gunner
|
|
perched in the back is flipped head over heels out of the
|
|
road through all the dust the convoy is picking up.
|
|
|
|
The lead staff car reaches the summit of the road and
|
|
barely makes the hairpin turn there, delivering a
|
|
destructive blow to the guard rail that has been placed
|
|
there. The guard rail is now bent.
|
|
|
|
In the cab of the truck, Indy and the Truck Driver again
|
|
stop trying to choke each other long enough to negotiate
|
|
the turn together. The bumper of the truck hits the broken
|
|
guard rail and sends it flying off the cliff. The truck,
|
|
however, holds the road.
|
|
|
|
In the rear car, Golber and Belzig are trying to see
|
|
through the thick clouds of dust. Suddenly is clears
|
|
completely.
|
|
|
|
Unfortunately for them, this happens because their car has
|
|
shot out into space at the hairpin turn. They are flying to
|
|
their final reward. Belzig, eyes wide behind his evil
|
|
spectacles, screams as he goes.
|
|
80.
|
|
|
|
|
|
In the cab of the truck, the Truck Driver is distracted by
|
|
the sight of the flying staff car. Indy plasters him and he
|
|
tumbles out.
|
|
|
|
Far, far below, Belzig’s staff car explodes on the rocks.
|
|
In the back of the truck, a TOUGH SERGEANT takes command of
|
|
the situation. He picks out six Armed Nazis and motions for
|
|
them to start climbing around the outside of the truck to
|
|
the cab. With some trepidation the lucky ones begin that
|
|
maneuver. The truck is swerving like crazy.
|
|
|
|
In the front staff car, the Armed Guard aims his submachine
|
|
gun back at Indy, alone now in the truck’s cab. Shliemann
|
|
knocks the barrel roughly away.
|
|
|
|
SHLIEMANN
|
|
(yelling)
|
|
If anything happens to that Ark,
|
|
we’re all dead men! The Fuhrer will
|
|
see to it!
|
|
|
|
Indy sees this from the cab and reacts by speeding up,
|
|
putting even more pressure on the Blond Driver.
|
|
|
|
Along the back of the truck, Armed Nazis are edging up
|
|
toward the cab, three on each side. They hang on as the
|
|
truck rounds a corner and goes into a straightaway that
|
|
leads through a short tunnel.
|
|
|
|
In the cab, Indy has been concentrating on the lead staff
|
|
car. Now, just before entering the tunnel, he looks in the
|
|
side view mirror and sees the Nazis on his side. A quick
|
|
glance to the other mirror reveals the others. As the truck
|
|
sweeps into the tunnel, we see Indy just start to turn his
|
|
steering wheel, he’s going to sideswipe the walls of the
|
|
tunnel.
|
|
|
|
At the other end of the tunnel, we hear the roar of the two
|
|
engines and two long, screeching, scraping sounds. The lead
|
|
staff car shoots out of the tunnel, then the truck, its
|
|
sides cleaned of Nazis.
|
|
|
|
In the rear of the truck, the Tough Sergeant is looking
|
|
with distaste back at the tunnel. There remains only him
|
|
and two Armed Nazis with the Ark. He sends these two
|
|
climbing up over the top of the truck.
|
|
|
|
In the lead car, the Blond Driver is being pressed hard by
|
|
Indy, who now edges up to bump them from the rear. Suddenly
|
|
the Armed Guard next to the Driver sees the two Armed Nazis
|
|
appear on the top of the truck. Without thinking, he starts
|
|
to point them out to Shliemann, then realizes his
|
|
stupidity.
|
|
81.
|
|
|
|
|
|
In the cab, Indy has seen this and is at first mystified.
|
|
He checks his side-view mirrors. Then he figures it out and
|
|
slams on his brakes. The brakes lock, the wheels burn and
|
|
the truck skids to a dusty halt. The two Armed Nazis fly
|
|
off the truck, over the cab to the road in front. Indy
|
|
immediately hits the gas again. The two Armed Nazis, just
|
|
aiming their weapons, get wiped out.
|
|
|
|
In the rear of the truck, the crated Ark is bouncing all
|
|
along, no one in sight, because --
|
|
|
|
The Tough Sergeant is on the top of the truck, making his
|
|
way steadily forward. This guy clearly knows what he’s
|
|
doing. A submachine gun is slung acorss his back.
|
|
|
|
The truck and the staff car race through a series of S-
|
|
curves. In the staff car, Belloq and Shliemann spot the
|
|
Tough Sergeant as he reaches the front of the truck’s top
|
|
and begins to lower his submachine gun barrel toward the
|
|
cab. Indy is unaware. Belloq and Shliemann exchange looks.
|
|
|
|
Then Shliemann yells to the Armed Guard in the front seat.
|
|
|
|
The Touch Sergeant has a line on Indy. He points his gun.
|
|
The Armed Guard blasts away at the truck. The Tough
|
|
Sergeant dies in a hail of bullets and flies off.
|
|
|
|
Indy, who has ducked the gunfire, is confused. But when he
|
|
sees the Armed Guard up front lower his gun, Indy again
|
|
floors it and begins bumping the staff car in earnest.
|
|
|
|
The road is almost down to a level now. In the distance
|
|
Cairo. The road takes a little dogleg just before reaching
|
|
level ground again. Just as the staff car is about to make
|
|
the turn, Indy smashes them from behind. The staff car
|
|
flies off the road and down a twenty foot embankment. Indy
|
|
takes the truck speeding down the road and off toward
|
|
Cairo.
|
|
|
|
In the staff car, the occupants are bruised but safe.
|
|
Shliemann points at the departing truck and yells at the
|
|
Blond Driver. The staff car fishtails out of its sandy
|
|
resting place and takes off after the truck.
|
|
|
|
|
|
104 EXT. OUTSKIRTS OF CAIRO - VARIOUS SHOTS - DAY 104
|
|
|
|
Indy had an ever-decreasing lead on the staff car as the
|
|
race thunders into the narrow streets. People and animals
|
|
leap out of the way; carts and barrels go flying helter
|
|
skelter. Indy takes the truck down a street so narrow there
|
|
are only inches to spare on each side. Pedestrians jump
|
|
into doorways.
|
|
82.
|
|
|
|
|
|
105 EXT. OMAR’S SQUARE - DAY 105
|
|
|
|
When the truck clears the narrow street, it is in a small
|
|
square. Omar’s garage is gaping open on the opposite side.
|
|
Indy hits the brakes and the truck skids across the square
|
|
and into the garage. The garage door slams shut and tenting
|
|
drops from the building to hide the door. Various Arabs,
|
|
friends of Omar, rush out with fruit carts and baskets and
|
|
set up a mini-bazaar in seconds. Two Arab Boys sweep the
|
|
tracks of the truck into oblivion. They throw aside their
|
|
brooms just as the staff car appears from the narrow
|
|
street. Belloq and Shliemann look around desperately as the
|
|
Blond Driver steers the car through the square and out the
|
|
other side.
|
|
|
|
|
|
106 EXT. CAIRO DOCKS - NIGHT 106
|
|
|
|
The waterfront is dark and misty. An old tramp steamer, THE
|
|
BANTU WIND, sits by the pier. Several fierce Black African
|
|
Pirates, the crew members, are taking on final stores.
|
|
|
|
A small light illuminates the top of the gangplank. In its
|
|
circle, Indy and Marion exchange long, warm embraces with
|
|
Sallah. A short distance away the ship’s Captain, a
|
|
handsome, powerful black named SIMON KATANGA, watches the
|
|
rail, smoking a pipe.
|
|
|
|
DISSOLVE TO:
|
|
|
|
|
|
107 EXT. OPEN SEA - THE MEDITERRANEAN - NIGHT 107
|
|
|
|
The Batu Wind is bathed in moonlight as it cuts across the
|
|
even seas.
|
|
|
|
|
|
108 INT. INDY’S CABIN - NIGHT 108
|
|
|
|
Indy comes in, takes off his hat, jacket, whip and holster.
|
|
The door which connects this cabin to the next opens and
|
|
Marion appears. She is carrying a half-full glass of
|
|
liquor, but what you notice is the long, snow-white, high-
|
|
necked nightgown she is wearing. It is very prim. Very
|
|
innocent. And very sexy. Marion does a slightly embarrassed
|
|
model’s turn for Indy.
|
|
|
|
MARION
|
|
I have a feeling I’m not the first
|
|
woman to travel with these pirates.
|
|
There’s a whole wardrobe in there.
|
|
|
|
INDY
|
|
83.
|
|
|
|
|
|
It’s lovely.
|
|
|
|
Indy sits on the cot, takes off his boots. He leans back
|
|
against the wall and rubs his eyes. Marion sits on the bed,
|
|
leans back against the wall with him and looks down at her
|
|
white nightgown. She chuckles.
|
|
|
|
MARION
|
|
I feel like a virgin bride in this.
|
|
|
|
INDY
|
|
That’s what you look like.
|
|
|
|
MARION
|
|
(takes a drink)
|
|
There are some things you can
|
|
recapture in this life, but that
|
|
isn’t one of them.
|
|
|
|
INDY
|
|
What would you like to recapture?
|
|
|
|
MARION
|
|
(after a long pause)
|
|
Nothing. That is the way it is.
|
|
|
|
He watches her closely as she drains her glass and puts it
|
|
down.
|
|
|
|
INDY
|
|
Did I ever say I was sorry I burned
|
|
down your tavern?
|
|
|
|
She turns so their lips are very close.
|
|
|
|
MARION
|
|
No. Then again, I burned up that
|
|
plane.
|
|
|
|
INDY
|
|
You saved my life.
|
|
|
|
MARION
|
|
And you saved mine.
|
|
|
|
INDY
|
|
Seems things have worked out kind
|
|
of even.
|
|
|
|
MARION
|
|
That’s the way I like them.
|
|
|
|
INDY
|
|
84.
|
|
|
|
|
|
Maybe we should consider all past
|
|
accounts closed.
|
|
|
|
Marion thinks about this a long time.
|
|
|
|
MARION
|
|
No. Not yet.
|
|
|
|
INDY
|
|
What else?
|
|
|
|
She looks into his eyes. A smile jumps from her lips to
|
|
his. He kisses her and they sink slowly to the cot.
|
|
|
|
|
|
109 INT. IN THE HOLD 109
|
|
|
|
The ship’s rats are agitated. They tremble and chitter at
|
|
the edges of the compartment, darting about. Out in the
|
|
center of the hold, sitting all by itself, is the crated
|
|
Ark. HUM-M-M-M.
|
|
|
|
|
|
110 INT. INDY’S CABIN - DAY 110
|
|
|
|
Marion awakes with a start, alone in the cot. Something’s
|
|
wrong. The ship is quiet. Indy is strapping on his holster.
|
|
He pulls his whip and jacket from a hook.
|
|
|
|
MARION
|
|
What is it?
|
|
|
|
INDY
|
|
The engines have shut down.
|
|
|
|
MARION
|
|
Why?
|
|
|
|
INDY
|
|
I’m going to find out.
|
|
|
|
|
|
111 EXT. LOWER DECK - DAY 111
|
|
|
|
Indy runs toward the bow, then climbs some steps four at a
|
|
time. A MESSENGER PIRATE is hurrying to get him, but flies
|
|
by him on the steps. By the time the Pirate stops himself,
|
|
Indy is gone.
|
|
|
|
MESSENGER PIRATE
|
|
Mister Jones! The Captain he say --
|
|
85.
|
|
|
|
|
|
112 EXT. THE BRIDGE - DAY 112
|
|
|
|
Captain Katanga is looking with concern ahead of the ship.
|
|
Indy appears behind him.
|
|
|
|
INDY
|
|
What’s wrong?
|
|
|
|
KATANGA
|
|
You have most important friends.
|
|
|
|
Katanga turns quickly, pointing with a sweeping hand. Indy
|
|
looks. Arrayed in a rough semicircle around the ship are
|
|
ten German Wolf Submarines. All of their deck guns are
|
|
manned and trained on the Bantu Wind. Worse, at least five
|
|
heavily-armed boarding parties in rafts are closing quickly
|
|
on the ship.
|
|
|
|
INDY
|
|
Holy shit.
|
|
|
|
KATANGA
|
|
(fast)
|
|
I sent my man for you. You and the
|
|
girl must disappear. We have a
|
|
place in the hold. Go, my friend!
|
|
|
|
|
|
113 EXT. UPPER DECK - DAY 113
|
|
|
|
Indy tears along the deck. He looks over the rail and sees
|
|
two Nazi rafts already next to the ship.
|
|
|
|
|
|
114 EXT. LOWER DECK - DAY 114
|
|
|
|
Indy flies down some stairs and starts to round a corner.
|
|
Suddenly he throws himself backwards, out of view. Three
|
|
uniformed Nazis are clustered near a cabin door holding the
|
|
Messanger Pirate. Now two more come out of the cabin trying
|
|
to maintain their grasp on a kicking, yelling Marion. She
|
|
is still wearing her white nightgown. More Nazis clamber
|
|
onto the deck and head toward Indy, slamming open doors,
|
|
rousting Pirates, spouting racial epithets. Indy steps
|
|
backwards and fades into the maze of the ship.
|
|
|
|
|
|
115 EXT/INT. THE BANTU WIND - VARIOUS SHOTS - DAY 115
|
|
86.
|
|
|
|
|
|
The ship is swarming with Nazis. The Black Pirates are
|
|
herded forward, subjected to rough physical and verbal
|
|
abuse by the Aryan Supermen. The Pirates are clearly under
|
|
orders not to resist, but not one of these strong men likes
|
|
it. They’d gladly give their lives to rip the throat out of
|
|
a few Krauts. In the hold, the door slams open and Nazis
|
|
pour in; they smile at the sight of the crated Ark.
|
|
|
|
|
|
116 EXT. THE BRIDGE - DAY 116
|
|
|
|
Captain Katanga watches as his crew is crowded into a
|
|
circle of Nazis on the wide deck below him. He is
|
|
surrounded by Belloq, Shliemann and several Nazis, two of
|
|
whom are holding Marion. Now the Nazis from the hold appear
|
|
on the lower deck carrying the crated Ark by means of the
|
|
long poles. Belloq’s eyes shine at the sight.
|
|
|
|
SHLIEMANN
|
|
Take it aboard the Wurrfler!
|
|
|
|
BELLOQ
|
|
And be very careful!
|
|
|
|
The Ark is taken away.
|
|
|
|
SHLIEMANN
|
|
(to a Sergeant below)
|
|
What about Jones?
|
|
|
|
SERGEANT
|
|
Not a trace yet, sir!
|
|
|
|
KATANGA
|
|
Jones is dead.
|
|
|
|
Belloq and Shliemann regard him suspiciously.
|
|
|
|
KATANGA
|
|
We killed him. He was of no use to
|
|
us. The girl, however, has certain
|
|
value where we are headed. She will
|
|
bring a very good price. If that
|
|
cargo you have taken was your goal,
|
|
then go in peace with it. But leave
|
|
us the girl. It will reduce our
|
|
loss on this trip.
|
|
|
|
SHLIEMANN
|
|
87.
|
|
|
|
|
|
Savage. You are not in a position
|
|
to ask for anything. We will take
|
|
what we wish and then decide
|
|
whether or not to blow your ship
|
|
from the water.
|
|
|
|
Belloq steps forward and puts a proprietary hand on
|
|
Marion’s arm, fixing Shliemann with a steady look.
|
|
|
|
BELLOQ
|
|
That girl goes with me. It will be
|
|
part of my compensation. I’m sure
|
|
the Fuhrer would approve.
|
|
|
|
Shliemann considers.
|
|
|
|
BELLOQ
|
|
If she fails to please me, you can
|
|
do with her as you wish.
|
|
|
|
This appeals to Shliemann’s nature. He signals his
|
|
agreement with a gesture. Belloq ushers Marion away with
|
|
her two keepers.
|
|
|
|
DISSOLVE TO:
|
|
|
|
|
|
117 EXT. THE WURRFLER - CONNING TOWER - DAY 117
|
|
|
|
The Nazis have returned to their subs. Shliemann is on the
|
|
bridge with THE WURRFLER’S CAPTAIN and the Captain’s Aides.
|
|
The Captain is an honorable career Navy man.
|
|
|
|
THE WURRFLER’S CAPTAIN
|
|
Colonel Shliemann, all torpedoes
|
|
are loaded.
|
|
|
|
Shielmann nods and continues to stare at the Bantu Wind, as
|
|
does the Captain. The Pirate crew is all lined across the
|
|
bow. Towering above the others, standing on the rail, proud
|
|
and defiant, is Katanga. Shliemann looks at the Wurrfler’s
|
|
Captain a moment.
|
|
|
|
SHLIEMANN
|
|
What do you think, Captain?
|
|
|
|
THE WURRFLER’S CAPTAIN
|
|
(earnestly)
|
|
I think not, Colonel. Nothing is to
|
|
be gained. We are not at war.
|
|
|
|
Shliemann mulls this, then turns to the hatch.
|
|
88.
|
|
|
|
|
|
SHLIEMANN
|
|
-- yet. Let the vermin live. We
|
|
must be on our way.
|
|
|
|
Shliemann disappears down the hatch. The Captain is
|
|
pleased. A Radioman speaks into his headset, then follows
|
|
the other Aides down the hatch. In the distance the other
|
|
subs begin to move away from the ship. The Captain, alone
|
|
on the bridge, looks once more at Katanga.
|
|
|
|
On the Bantu Wind, Katanga executes what might be taken for
|
|
a salute.
|
|
|
|
The Wurrfler’s Captain smiles, salutes crisply, then goes
|
|
below, pulling the hatch closed. Immediately, the Wurrfler
|
|
begins to move. And as it does, we see the rail at the aft
|
|
of the main deck. From nowhere, a wet sleeve appears and a
|
|
hand grabs the rail!
|
|
|
|
Indy pulls his dripping body onto the sub’s main deck. He
|
|
has lost his felt hat once and for all. Other than that,
|
|
his outfit is the same as always, just wetter. Suddenly,
|
|
water is washing over his feet; the Wurrfler is beginning
|
|
to submerge. Indy runs through quickly deepening water
|
|
toward the haven of the conning tower. Halfway there, he
|
|
slips and goes down.
|
|
|
|
Only by grabbing the base of the aftmast light does he keep
|
|
from being swept away. He struggles to his feet and sloshes
|
|
through knee-deep water to the base of the conning tower.
|
|
|
|
Indy climbs the ladder to the bridge of the conning tower
|
|
and looks down. The water is rising toward him fast. Indy
|
|
climbs the ladder to the top of the turret and braces
|
|
himself between the two uprights there - the 7 foot radio
|
|
mast and the 20 foot periscope. Still the ocean comes up to
|
|
meet him. Soon the top of the turret is under water and
|
|
radio mast is disappearing. Indy shifts his grip to the
|
|
periscope, working his way up it and hanging on for dear
|
|
life as the ocean whips at his body. The periscope is
|
|
quickly going under. Indy hangs on to the top three feet,
|
|
all that remains above.
|
|
|
|
The forward movement of the sub continues, but, to Indy’s
|
|
slowly dawning delight, the dive stops. No more of the
|
|
periscope goes under. Indy smiles; it’s a pretty good
|
|
smile, too, given the circumstances. Indy pulls out his
|
|
bullwhip and begins tying himself to the periscope.
|
|
|
|
|
|
118 EXT. THE PERISCOPE - AFTERNOON 118
|
|
89.
|
|
|
|
|
|
The sun warms that part of his body Indy has contrived to
|
|
keep out of the water. The rest floats out behind. Indy
|
|
isn’t comfortable, but all in all, it’s not as terrible as
|
|
he might have feared.
|
|
|
|
DISSOLVE TO:
|
|
|
|
|
|
119 EXT. THE PERISCOPE - DUSK 119
|
|
|
|
It’s as terrible as Indy might have feared. He looks
|
|
wasted.
|
|
|
|
Waterlogged and exhausted. The wet leather of the whip is
|
|
contracting and he must struggle constantly to keep it from
|
|
cutting into his skin.
|
|
|
|
DISSOLVE TO:
|
|
|
|
|
|
120 EXT. THE OCEAN - NIGHT 120
|
|
|
|
Several shark fins cut the surface, appearing and
|
|
disappearing in the bright moonlight. They are shadowing --
|
|
|
|
|
|
121 EXT. THE PERISCOPE - NIGHT 121
|
|
|
|
Indy looks through barely open eyes at the sharks running
|
|
alongside. There is nothing to be done. His eyes close.
|
|
|
|
FADE OUT.
|
|
|
|
FADE IN:
|
|
|
|
|
|
122 EXT. THE PERISCOPE - NIGHT 122
|
|
|
|
The submarine has stopped. The water is calm. The moon is
|
|
bright. A gentle swell splashes Indy awake. He blinks,
|
|
tries to regain his senses. He makes an inventory of his
|
|
body. Surprised to find himself intact, his spirits lift.
|
|
Some hidden reserve of energy flows through him. He frees
|
|
his aching arms from the wet leather of his whip, leaving
|
|
only one loop around his waist to hold him to the sub. He
|
|
rubs his hands and stretches. Once again, he has survived.
|
|
To fight again. He looks around.
|
|
90.
|
|
|
|
|
|
WHAT HE SEES. A lovely island. No sign of man’s presence.
|
|
The sub has stopped at the mouth of a wide cove completely
|
|
ringed by tall white rock cliffs. Suddenly the sub begins
|
|
to move again. It is headed directly toward the center of
|
|
the cliffs. Indy holds on, mystified, alert. When the
|
|
cliffs are very close, the sub begins to dive.
|
|
|
|
INDY
|
|
Damn!
|
|
|
|
He thinks hard. Inspiration hits just before the water.
|
|
Indy flips his leather jacket up over his head and holds
|
|
the jacket out in front of him. His head is hidden by the
|
|
jacket as he goes under water.
|
|
|
|
|
|
123 INT. THE UNDERWATER TUNNEL - NIGHT 123
|
|
|
|
The sub enters an underwater tunnel that penetrates into
|
|
the cliffs. Indy is held to the periscope by his crossed
|
|
legs and the whip. His improptu air bubble is working, but
|
|
it’s a struggle to maintain it.
|
|
|
|
The sub begins to cut through thick marine vegetation. Each
|
|
dangling growth pulls at Indy’s body and slaps at his
|
|
leather bubble. Now a clump of entwined seaweed rips the
|
|
leather out of his hands and his bubble of air rises away.
|
|
Indy hangs on, holding his breath, but the vegetation gets
|
|
denser. Finally, it pulls him off the periscope. The sub
|
|
moves on, disappearing ahead.
|
|
|
|
Indy rises desperately through the dark water, his hand
|
|
outstretched. Then, almost simultaneously, hand and head
|
|
hit solid rock. But no air. Indy feels along the ceiling of
|
|
rock. Nothing. It’s all submerged.
|
|
|
|
Indy dives, stroking deep into the tunnel. When he has
|
|
descended 15 feet, he grabs a vine and steadies himself.
|
|
His eyes search the dim roof of the tunnel. He sees his
|
|
last hope in the distance, a small blue circle, an air
|
|
pocket. He swims for it.
|
|
|
|
In the air pocket, Indy’s head breaks the surface and
|
|
smashes into rock again. The pocket is only six inches
|
|
deep. No matter. Indy loves it. He’d like to move in. He
|
|
gulps air.
|
|
|
|
|
|
124 INT. THE SUB BASE - DOCKING BAY 124
|
|
91.
|
|
|
|
|
|
The Wurrfler has arrived at an extraordinary base built in
|
|
the hollow interior of the island. This chamber, with the
|
|
docking bay, is almost all water. A huge natural cavern, it
|
|
has been reinforced and enlarged by the Germans.
|
|
|
|
The Wurrfler sits surfaced at the dock. The Ark has been
|
|
unloaded and placed on a cart. Shliemann, Belloq and Marion
|
|
have just disembarked and been met by a Nazi contingent
|
|
from the base. Marion looks worse for the trip. Her white
|
|
nightgown is now ripped and smudged.
|
|
|
|
One of the greeting Nazis, a TALL CAPTAIN, salutes
|
|
Shliemann and Belloq. As he speaks to them, we notice that
|
|
right behind this group, just above a great deal of sub
|
|
unloading activity, Indy’s whip hangs from the periscope.
|
|
Working Nazis pass within feet of it unaware; the Tall
|
|
Captain would see it in a moment if he were not so focused
|
|
on the new arrivals.
|
|
|
|
TALL CAPTAIN
|
|
(to Belloq)
|
|
The tents have been arranged in
|
|
accordance with your radioed
|
|
instructions, sir.
|
|
|
|
BELLOQ
|
|
Good. We must take the Ark there
|
|
now.
|
|
|
|
Shliemann looks a little unhappy about this exchange, but
|
|
says nothing. The groups moves swiftly toward the end of a
|
|
mine train arrangement. The train, consisting of small,
|
|
separate, electric-powered cars, sits on a track which
|
|
disappears into a tunnel cut in the rock.
|
|
|
|
On the turret of the Wurrfler, the Wurrfler’s Captain
|
|
lights a cigarette as he watches the mine train disappear,
|
|
then returns his attention to the activity on the dock. He
|
|
leans idly against the periscope, his head two feet below
|
|
Indy’s dangling whip. Something catches his eye, he yells
|
|
an order and climbs down from the turret to deal with the
|
|
matter.
|
|
|
|
We hold on the whip for a long moment, until its owner’s
|
|
hand appears and quickly reclaims it.
|
|
|
|
|
|
125 INT. TRAIN TUNNEL 125
|
|
92.
|
|
|
|
|
|
The Ark and its entourage are moving slowly up the tight
|
|
dark tunnel, their way lit by intermittent lanterns. The
|
|
tunnel is irregular, but generally about 7 feet wide. It’s
|
|
height varies from an average of about 7 feet to a low of
|
|
only about 4.5 feet at the points (every 40 feet) where
|
|
support beams cross the track. The result is that there is
|
|
only about a foot of clearance above the mine cars at those
|
|
points; passengers must duck to keep from being hit in the
|
|
head. Shliemann, looking worried, and Belloq, very excited,
|
|
are focused on the Ark in the car ahead.
|
|
|
|
SHLIEMANN
|
|
I am uncomfortable with the thought
|
|
of this --
|
|
(spitting it out)
|
|
-- Jewish ritual. Are you sure it’s
|
|
necessary?
|
|
|
|
BELLOQ
|
|
(playing him)
|
|
Let me ask you this -- Would you be
|
|
more comfortable opening the Ark in
|
|
Berlin -- for the Fuhrer -- and
|
|
finding out only then if the sacred
|
|
pieces of the Covenant are inside?
|
|
Knowing, only then, whether you
|
|
have accomplished your mission and
|
|
obtained the one, true Ark?
|
|
|
|
Shliemann doesn’t like any of his alternatives. He looks at
|
|
Belloq with some suspicions as the train comes into bright
|
|
light.
|
|
|
|
|
|
126 INT. COMMAND CENTER 126
|
|
|
|
A second natural cavern, even bigger than the first, has
|
|
been worked over by the Germans into a rectangular, three-
|
|
story high supply center around a huge, open, center court.
|
|
Uniformed Nazi Soldiers are everywhere, wrangling supplies
|
|
and ammunition, monitoring electronic equipment. At the far
|
|
end of the court, a second train tunnel disappears into the
|
|
rock.
|
|
|
|
Across the open court, Belloq sees his destination: a
|
|
large, brilliant white silk tent has been erected in the
|
|
midst of all this hardware. It looks incongruous, and more
|
|
than a little eerie. It is the Tabernacle.
|
|
|
|
|
|
127 INT. TRAIN TUNNEL 127
|
|
93.
|
|
|
|
|
|
Indy is making his way up the tunnel. He hears cars coming
|
|
from up ahead and steps into the shadows. A mine car passes
|
|
with several laughing Nazis. Indy continues on his way.
|
|
|
|
|
|
128 INT. THE TABERNACLE 128
|
|
|
|
The light in here is lovely, unearthly. Oil lamps burn. The
|
|
Tabernacle is really several concentric, silk tents, which
|
|
creates a flowing maze effect. The innermost tent has at
|
|
its center a 3-foot high, tapestry-covered altar. Belloq
|
|
watches with gleaming, obsessed eyes as two Nazis carefully
|
|
lift the actual Ark out of its crate by means of the long
|
|
poles. The Ark dazzles the eye, seeming to glow gold in
|
|
this strange light. The two Nazis place it carefully on the
|
|
altar. Shliemann and some Aides hang back. Marion is
|
|
nowhere to be seen.
|
|
|
|
|
|
129 INT. COMMAND CENTER - END OF TUNNEL 129
|
|
|
|
Indy makes a fast break from the shadows of the tunnel to
|
|
the protection of a high stack of supplies. He climbs the
|
|
back of the stack, peeks over and surveys the area.
|
|
|
|
WHAT HE SEES. In addition to the Tabernacle, the second
|
|
train tunnel entrance, and all the activity, Indy’s glance
|
|
rests momentarily on a large, heavy metal door halfway down
|
|
one wall toward the Tabernacle. It bears the words in
|
|
German: DANGER - MUNITIONS.
|
|
|
|
Indy continues to scan the scene.
|
|
|
|
|
|
130 INT. THE TABERNACLE 130
|
|
|
|
In the central area with the Ark, Shliemann and the other
|
|
Nazis wait impatiently, eyeing the Ark with some
|
|
discomfort. Belloq is not visible, because at the moment he
|
|
is --
|
|
|
|
In the folds of the Tabernacle, the silk of the tents
|
|
undulating around him. The light is even stranger, the
|
|
scene almost dreamlike. With the help of the Tall Captain,
|
|
Belloq lets an extraordinary, gold-embroidered, ceremonial
|
|
robe fall over his head and onto his body. Belloq looks
|
|
transported, possessed. The Tall Captain unlatches a wooden
|
|
case and takes from it a sturdy ivory rod about 5 feet
|
|
long, elaborately engraved. Belloq takes it from him, turns
|
|
and slips back through the silk. The Tall Captain stays in
|
|
the folds.
|
|
94.
|
|
|
|
|
|
Back in the central area, Shliemann and the other Nazis are
|
|
taken aback by Belloq’s appearance in the rove. They
|
|
exchange looks. From one knot of men there is muttering
|
|
about “Juden” and such, but when Belloq turns a fiery gaze
|
|
on them there is immediate silence. Shliemann looks
|
|
uncertain in this presence.
|
|
|
|
Belloq approaches the Ark. He stops a few feet from it and
|
|
begins murmuring an invocation in Hebrew. After a few
|
|
moments of this he advances a step and is about to place
|
|
the ivory rod in a notch under the lid of the Ark itself.
|
|
The end of the rod is an inch from the notch when--
|
|
|
|
Indy steps into the Tabernacle. On his shoulder is a
|
|
bazooka and it is aimed directly at the Ark.
|
|
|
|
INDY
|
|
Hold it.
|
|
(the Nazi react)
|
|
One move from anybody and I blow
|
|
that box back to Moses.
|
|
|
|
Shliemann makes it clear to the other Nazis that Indy is to
|
|
be obeyed.
|
|
|
|
BELLOQ
|
|
Jones, your persistence surprises
|
|
even me. You are going to give
|
|
mercenaries a bad name.
|
|
|
|
INDY
|
|
What about you? Talked to God yet?
|
|
(Belloq’s eyes flash)
|
|
Where’s the girl?
|
|
|
|
SHLIEMANN
|
|
Doctor Jones, surely you don’t
|
|
think you can escape from this
|
|
base.
|
|
|
|
INDY
|
|
That depends on how reasonable
|
|
we’re all willing to be. All I want
|
|
is the girl. We’ll keep possession
|
|
of the Ark only till we’ve got safe
|
|
transport to England. Then it’s all
|
|
yours.
|
|
|
|
SHLIEMANN
|
|
If we refuse?
|
|
|
|
INDY
|
|
95.
|
|
|
|
|
|
Then the Ark and some of us are
|
|
going up in a big bang. I don’t
|
|
think Hitler would like that a bit.
|
|
Now I don’t want to talk about this
|
|
anymore. Show me that girl in five
|
|
seconds or--
|
|
|
|
The Tall Captain flies out of the silk and takes Indy down
|
|
by the neck. The bazooka clatters across the cement floor
|
|
as two other Nazis help subdue Indy. The three Nazis take
|
|
Indy’s pistol from his holster and raise him roughly in
|
|
their grasp.
|
|
|
|
SHLIEMANN
|
|
Jones, this is the second time I
|
|
have seen you looking very foolish.
|
|
|
|
INDY
|
|
It’s a bad habit. I’m trying to
|
|
break it.
|
|
|
|
Shliemann draws his Luger.
|
|
|
|
SHLIEMANN
|
|
I’ll help you. This time I’ll kill
|
|
you myself.
|
|
|
|
Shliemann raises the pistol.
|
|
|
|
BELLOQ
|
|
No! Not in the presence of the Ark!
|
|
Take him outside.
|
|
|
|
Shliemann eyes Belloq, then the Ark. He lowers the pistol,
|
|
motions for the Nazis to take Indy out ahead of him. They
|
|
stop a moment only when Belloq speaks.
|
|
|
|
BELLOQ
|
|
Indiana Jones, I salute you. I am
|
|
even a little sorry you will miss
|
|
this moment.
|
|
|
|
INDY
|
|
Thanks. If you talk to Him, tell
|
|
Him I’m on my way up.
|
|
|
|
Shliemann motions them out and follows. Belloq turns back
|
|
to the Ark, raising the ivory rod.
|
|
|
|
|
|
131 INT. COMMAND CENTER 131
|
|
96.
|
|
|
|
|
|
Shliemann, the Tall Captain, Indy and the two Nazis holding
|
|
him emerge from the Tabernacle. Shliemann points to a
|
|
nearby wall and the group starts that way with Shliemann
|
|
and the Tall Captain slightly ahead.
|
|
|
|
|
|
132 INT. THE TABERNACLE 132
|
|
|
|
Belloq has the ivory rod inserted in the notch under the
|
|
lid of the Ark. He utters a short phrase in Hebrew and
|
|
begins to press down on his end of the rod. The lid of the
|
|
Ark begins to lift. It’s difficult work. Belloq puts his
|
|
whole weight into one big press on his end and the lid
|
|
opens two feet.
|
|
|
|
Inside the Ark of the Covenant is a preview of the end of
|
|
the world. A light so bright, a power so fearsome, a charge
|
|
so jolting, that there is nothing in our world to compare
|
|
to it. It’s as though this magnificent golden box has been
|
|
gathering electric energy for three thousand years, waiting
|
|
for just this crack of the lid to release it all in one
|
|
fast, cleansing explosion of pure force.
|
|
|
|
Blinding arcs of light shoot out across the Tabernacle
|
|
instantly killing all the Nazis inside and turning the
|
|
white silk to flame. But it is Belloq in his obsession who
|
|
takes the full blast. His whole body seems lit by a million
|
|
volt current and, for a moment, his complete form is white,
|
|
then blue, then maybe green, but it is hard to tell because
|
|
our eyes are blinded now too. Two aspects of this ghastly,
|
|
beautiful display are somehow communicated in the chaos,
|
|
although the communication is subliminal. First, that
|
|
Belloq, in the instant of his destruction, has experienced
|
|
some kind of sublime, transcendental knowledge. If a
|
|
death’s-head can smile and look satisfied, that is how
|
|
Belloq’s incandescent face would be described. Secondly,
|
|
this event is accomplished by a sound like no other. A
|
|
sound so intense and so odd and so haunting that the
|
|
suggestible among us might imagine it were the whisper of
|
|
God.
|
|
|
|
|
|
133 INT. COMMAND CENTER 133
|
|
|
|
Chaos. Shliemann and the Tall Captain have been temporarily
|
|
blinded by the light from the Tabernacle. Indy makes short
|
|
work of his two escorts. He bashes their heads together.
|
|
When only one goes down at this, Indy uses the handle of
|
|
his bullwhip, which has appeared instantly in his hand, to
|
|
put the second one down.
|
|
97.
|
|
|
|
|
|
Shliemann, hand on his eyes, aims his Luger blindly at the
|
|
scuffle. Indy pushes the Tall Captain at Shliemann, who
|
|
fires on impact, killing the Tall Captain. Indy knocks out
|
|
Shliemann.
|
|
|
|
Behind Indy, the brilliant light and weird noise of the Ark
|
|
have suddenly ceased, but the Tabernacle is ablaze and the
|
|
fire has quickly spread to stacks of supplies on either
|
|
side. Smoke is already starting to fill the cavern. Nazis
|
|
are running around, yelling for firefighting water. A
|
|
burning crate at the side of the Tabernacle is pushed over,
|
|
only to knock over a drum of heavy black oil. A river of
|
|
flame shoots across the cement.
|
|
|
|
Indy grabs a rifle with bayonet from the prostrate body of
|
|
one of his former escorts and runs back into the flaming
|
|
Tabernacle.
|
|
|
|
|
|
134 INT. THE TABERNACLE 134
|
|
|
|
Indy jumps through the flames into what is now a tent of
|
|
fire. He looks around at the dead bodies, then at the Ark.
|
|
The lid has slammed down shut again and the Ark shines gold
|
|
in the flames. Before it, where Belloq once stood, is a
|
|
pile of ash and charred debris. Indy registers this, then
|
|
continues to scan the scene.
|
|
|
|
INDY
|
|
Marion! Marion, can you hear me?
|
|
|
|
Suddenly, Indy looks as --
|
|
|
|
The far side of the Tabernacle burns completely away,
|
|
revealing Marion, tied spread-eagle between two upright
|
|
posts. Her nightgown is now in tatters, black with soot.
|
|
She is gagged but her eyes are screaming, focused on the
|
|
flaming river of black oil which is about to engulf her
|
|
feet.
|
|
|
|
Indy rushes toward her, unaware of a uniformed Nazi who has
|
|
appeared from the flames. Marion looks up to see Indy and
|
|
the Nazi leveling his sub machine gun at Indy. She motions
|
|
desperately with her eyes. Indy dives and rolls through the
|
|
flames just as the Nazi opens fire. From the floor, Indy
|
|
blasts the Nazi.
|
|
|
|
The river of burning oil is only a foot from Marion.
|
|
|
|
Indy jumps up and runs toward the bound Marion, his bayonet
|
|
aimed directly at her. Her wide eyes flash between the
|
|
flames and the shining blade. Expertly, Indy slashes down
|
|
both sides at Marion, cutting all four bindings.
|
|
98.
|
|
|
|
|
|
Marion falls backwards, away from the flames, but before
|
|
she hits the ground, Indy is there, catching her in his
|
|
arms. They embrace. They kiss. They break.
|
|
|
|
INDY
|
|
Hi.
|
|
|
|
MARION
|
|
Oh, Indy! Thank god you’re here.
|
|
|
|
INDY
|
|
Glad I could make it.
|
|
|
|
Indy rises, pulling her up with him. The Tabernacle is
|
|
burning away so fast that soon Indy and Marion will be
|
|
completely exposed. Indy rushes over and grabs the sub
|
|
machine gun and a Luger from the dead Nazi.
|
|
|
|
INDY
|
|
Let’s get out of here.
|
|
|
|
MARION
|
|
What about the Ark?
|
|
|
|
Indy stops, startled by her spunky attitude. He’s
|
|
considering their chances.
|
|
|
|
INDY
|
|
Are you game?
|
|
|
|
MARION
|
|
Hell yes! We’ve made it this far.
|
|
|
|
INDY
|
|
(grins at her)
|
|
Okay. Let’s do it.
|
|
|
|
They approach the altar through the dying flames, Indy
|
|
slinging the sub machine gun over his back. The long
|
|
carrying poles are still in place.
|
|
|
|
INDY
|
|
Whatever you do, don’t touch it.
|
|
Let’s put it on the floor.
|
|
|
|
Marion nods. Each taking an end with the poles, they lift
|
|
the Ark from the altar and lower it to the floor. Marion
|
|
grunts under the weight. Indy registers this, hands her the
|
|
sub machine gun. He pulls out his whip, motions her back,
|
|
and sweeps the whip tightly around the body of the Ark. The
|
|
fall wraps snugly around the plaiting and Indy ties it off.
|
|
The Ark is now harnessed to the whip handle.
|
|
99.
|
|
|
|
|
|
Indy gives it an experimental pull and the Ark slides
|
|
across the smooth cement. Indy indicates the direction of
|
|
the second train tunnel.
|
|
|
|
INDY
|
|
We’ll go down that side. Shoot
|
|
anyone who looks at us cross eyed.
|
|
|
|
|
|
135 INT. COMMAND CENTER 135
|
|
|
|
Two huge stacks of goods are ablaze and the Nazis are
|
|
having trouble getting water to them. The Nazis’ main
|
|
concern at this point is an enormous, neat stack of wooden
|
|
cartridge boxes which are piled down the wall from one of
|
|
the already blazing, and now teetering, stacks of general
|
|
goods. Nervous Nazis are moving the heavy cartridge boxes
|
|
as fast as they can, but it’s slow work and the threatening
|
|
fire is close.
|
|
|
|
Indy and Marion make their way along the side of the center
|
|
court, Indy grimacing with the strain of pulling the Ark.
|
|
One Nazi stops directly in front of them, looking at them
|
|
queerly. Indy knocks him out with the butt of his Luger
|
|
just as Marion is about to fire.
|
|
|
|
Out in the court, Shliemann has regained his eyesight. Now
|
|
he crouches, scanning the scene desperately for Indy. He
|
|
looks into the remains of the Tabernacle and spots the
|
|
empty altar. Beyond it, the unoccupied posts where Marion
|
|
was bound.
|
|
|
|
At the entrance to the second train tunnel, Indy and Marion
|
|
struggle to lift the Ark into a mine car. Marion has the
|
|
sub machine gun slung over her back. The Ark drops heavily
|
|
into the bottom of the car. The noise attracts the
|
|
attention of five water-carrying Nazis. They see what’s
|
|
going on and reach for their side-arms. Indy grabs Marion,
|
|
pulls her in front of him, as though to use her as a shield
|
|
and flips the sub machine gun, still on her back, toward
|
|
the Nazis. He opens fire, turning Marion’s body so he can
|
|
mow all five down.
|
|
|
|
Shliemann spins around and looks at the tunnel entrance. He
|
|
points at Indy and Marion, who have just hopped into the
|
|
mine car with the Ark.
|
|
|
|
SHLIEMANN
|
|
Stop them! Kill them!
|
|
100.
|
|
|
|
|
|
A dozen Nazis spin and look at the mine car. Marion is just
|
|
leveling the submachine gun. Indy pushes forward the
|
|
throttle and the mine car moves toward the tunnel, picking
|
|
up speed.
|
|
|
|
As the Nazis raise their guns to fire, Marion and Indy both
|
|
open up, peppering the area with lead. As the mine car is
|
|
about to disappear into the tunnel.
|
|
|
|
INDY
|
|
(to Marion)
|
|
Get down!
|
|
|
|
As the car disappears, bullets pock the entrance of the
|
|
tunnel. Shliemann runs up with three Nazis. They jump into
|
|
the next mine car and take off, disappearing into the
|
|
tunnel.
|
|
|
|
Over at the burning stack of goods, some terrified
|
|
firefighters scurry away as the burning pile of general
|
|
goods falls over onto the stack of cartridge boxes. The
|
|
wooden boxes immediately start burning. Many of the Nazis
|
|
just want to get out of there, but a couple of disciplined
|
|
OFFICERS are trying to salvage the situation. They point to
|
|
the far side of the court, the walls are lines with oil and
|
|
gas drums.
|
|
|
|
OFFICER
|
|
We must cover the drums! Protect
|
|
them from the bullets!
|
|
|
|
INTERCUTTING:
|
|
|
|
Indy and Marion with Shliemann and the Nazis, we see a most
|
|
extraordinary pursuit. This tunnel is of identical design
|
|
to the first, except more twisty. This early section goes
|
|
slightly uphill, as though headed for the summit of a
|
|
rollercoaster. The low cross beams and the higher sections
|
|
in between are causing the Nazis to alternately stand and
|
|
duck in their efforts to get a clear shot at the lead car.
|
|
One German times it wrong and gets whacked. Indy is unhappy
|
|
with the speed of his car and he’s right, the Nazis are
|
|
moving faster and gaining. When both cars are in the same
|
|
high section, the Nazis blast away at them. The noise is
|
|
deafening, with barking guns, splintering rock, and
|
|
twanging ricochets contributing to the din. As Marion fires
|
|
a return volley low over the Ark, Indy kicks at the
|
|
throttle, convinced it is jammed.
|
|
|
|
|
|
136 INT. COMMAND CENTER 136
|
|
101.
|
|
|
|
|
|
The Officers are directing the placement of every movable
|
|
item in front of the oil drums. Desks, crates, chairs,
|
|
food, all are heaped in front of the fuel. All the workers
|
|
cast frequent glances back at the burning cartridge boxes
|
|
across the court. Suddenly the worst begins to happen at
|
|
the cartridge boxes. Hundreds of thousands of live
|
|
cartridges begin exploding, flying around the court like
|
|
shrapnel. Hot lead begins to zing off the exposed fuel
|
|
drums, leaving big dents.
|
|
|
|
|
|
137 INT. TRAIN TUNNEL - LONG STRAIGHTWAY 137
|
|
|
|
The car with Indy and Marion looks almost sluggish compared
|
|
to the pursuing Nazi car as they both make their way into
|
|
an unusually long straightaway. Marion discards her empty
|
|
sub machine gun as Indy kicks at his throttle and casts a
|
|
worried look back at Shliemann.
|
|
|
|
Shliemann, sensing victory, smiles evilly and carefully
|
|
takes aim. Indy and Marion will be easy targets until they
|
|
reach that approaching low cross beam, which is the crest
|
|
of the rising tunnel.
|
|
|
|
|
|
138 INT. COMMAND CENTER - CLOSE ON FUEL DRUM 138
|
|
|
|
A fuel drum, already pocked by bullets is finally
|
|
penetrated by high velocity hot lead. It explodes in a ball
|
|
of flame. And then its neighbor. Then all is exploding
|
|
flame.
|
|
|
|
|
|
139 INT. TRAIN TUNNEL - LONG STRAIGHTWAY 139
|
|
|
|
Shliemann and his cohorts hear the explosions behind them
|
|
and look back that way.
|
|
|
|
Indy kicks the throttle one more time and it goes! Their
|
|
car doubles its speed and shoots under the low cross beam
|
|
at the same instant as--
|
|
|
|
A huge dragon of all-consuming fire shoots up the tunnel
|
|
behind the Nazis, catches their car and incinerates
|
|
Shliemann and his men. The tunnel collapses in this
|
|
section, burying the fried Nazis forever.
|
|
|
|
|
|
140 INT. TRAIN TUNNEL 140
|
|
102.
|
|
|
|
|
|
Indy and Marion look back at the low cross beam as the last
|
|
tongue of flame makes it there and then is doused by
|
|
falling rock and dirt. They look at each other, then turn
|
|
their attention back to their own predicament. Their mine
|
|
car is going incredibly fast as it moves into a downward
|
|
section of wildly twisting tunnel.
|
|
|
|
MARION
|
|
Slow it down!
|
|
|
|
Indy is already pulling the throttle. It moves easily.
|
|
Unfortunately, it is no longer attached to the motor. The
|
|
mine car is out of control.
|
|
|
|
After several moments, far ahead, appears a circle of
|
|
bright daylight-- the end of the tunnel! It approaches at a
|
|
frightening rate. Indy reaches out grasps Marion’s hand.
|
|
They exchange looks and then turn to look ahead.
|
|
|
|
THEIR POV. We’re taking this last stretch with them. It’s a
|
|
familiar nightmare. It has to do with a roller coaster that
|
|
ends suddenly and disastrously. The shocking brightness of
|
|
sunlight rushes up to engulf us, blinding us in its glare.
|
|
|
|
|
|
141 EXT. THE ISLAND - END OF TRACKS - DOCK 141
|
|
|
|
High up on the slope of the island, Indy and Marion’s mine
|
|
car shoots out of the black tunnel and roars down toward a
|
|
little dock at the end of the tracks.
|
|
|
|
A small Nazi transport launch, carefully disguised as a
|
|
Greek fishing boat, sits bobbing by the dock. The only
|
|
human: a Nazi Sentry dressed as a Greek peasant. He is
|
|
perched on a pile of seed bags which are stacked at the
|
|
very end of the train tracks. As the mine care barrels
|
|
noisily down toward him, he throws away some burlap to
|
|
reveal a mounted machine gun which he spins quickly around
|
|
toward the approaching mine car. He opens fire.
|
|
|
|
In the out-of-control mine car, Indy pulls Marion down with
|
|
him. They are squashed into the corner trying to avoid
|
|
contact with the bouncing Ark. Bullets clang against the
|
|
outside of the car and whiz inches overhead. Indy and
|
|
Marion are forced into a tighter and tighter embrace of
|
|
life.
|
|
|
|
At the machine gun post, the Nazi Sentry has been firing
|
|
like crazy, but now there is terror in his eyes. He
|
|
realizes the car is not going to stop. He lacks faith in
|
|
his stronghold.Too late.
|
|
103.
|
|
|
|
|
|
The mine car smashes into the seed bag bunker. And right on
|
|
through. The Nazi Sentry, his machine gun and a dozen
|
|
bursting seed bags are slammed into the ocean in a wild,
|
|
hurtling mass. The mine car jumps, bounces and spins
|
|
around, then slides to a stop in a cloud of seed at the
|
|
edge of the water.
|
|
|
|
|
|
142 INT. COMMAND CENTER 142
|
|
|
|
Fire. Everywhere. No sign of life. A large gaping doorway,
|
|
flames ringing it, blazing into the room beyond. Hanging by
|
|
one hinge there, its metal blasted and jagged, is a heavy
|
|
door with the signed lettering, in German, DANGER -
|
|
MUNITIONS.
|
|
|
|
The first explosion happens. It’s a baby compared to what’s
|
|
coming yet is rocks the earth. It’s terrible. And then,
|
|
almost immediately, another. The long, irregular, ever-
|
|
larger chain of explosions begins.
|
|
|
|
|
|
143 EXT. THE ISLAND - VARIOUS SHOTS - DAY 143
|
|
|
|
The island rumbles and shakes. From fissures and small
|
|
natural caves, dirt and rock shoot out like spraying
|
|
water.Still the explosion continues. A huge chunk of white
|
|
cliff falls away into the turbulent sea. Birds scream and
|
|
soar, afraid to land.
|
|
|
|
Finally, we settle on a full shot of the island. We can
|
|
recognize that the small opening high on the slope from
|
|
which a cloud of smoke and dust is billowing is the end of
|
|
the mine tunnel. And there below it, quite small from this
|
|
distance is the dock. And the boat that looks like a Greek
|
|
fishing boat.
|
|
|
|
There can be no mistake even from this far away, the boat
|
|
is chugging out to sea.
|
|
|
|
|
|
144 INT. THE PENTAGON - DAY 144
|
|
104.
|
|
|
|
|
|
Indy, Brody and Marion, looking very stylish, are seated in
|
|
Colonel Musgrove’s huge office. Sun pours in a window,
|
|
through which Washington can be seen sparkling across the
|
|
Potomac. Everything is neat and clean and regular.
|
|
Including the three men who are arrayed around the office.
|
|
Two we know Col. Musgrove and Maj. Eaton. The third is an
|
|
unnamed Bureaucrat. He hangs back, smiling and genial, his
|
|
features obscured by the glare of the window. He doesn’t
|
|
say anything, yet you have a sense that the others defer to
|
|
him in the matter at hand. He is the essence of all that is
|
|
Byzantine and inscrutable in our scrubbed government
|
|
machine.
|
|
|
|
Indy and Brody are dissatisfied with the way the meeting
|
|
has gone. Marion, on the other hand, is very happy and
|
|
eager to get out of there. Eaton’s manner is irritatingly
|
|
cheery.
|
|
|
|
MUSGROVE
|
|
You’ve done your country a great
|
|
service.
|
|
|
|
EATON
|
|
--And we trust you found the
|
|
settlement satisfactory?
|
|
|
|
MARION
|
|
Quite.
|
|
|
|
EATON
|
|
Good, good.
|
|
(glances around at the
|
|
others)
|
|
Then I guess that about does it.
|
|
|
|
BRODY
|
|
When can we have the Ark?
|
|
|
|
Eaton’s glance flicks over to the mysterious Bureaucrat,
|
|
then back to Brody.
|
|
|
|
EATON
|
|
I thought we answered that. It’s
|
|
someplace very safe--
|
|
|
|
INDY
|
|
(heated)
|
|
That’s a powerful force. Research
|
|
should be done--
|
|
|
|
EATON
|
|
105.
|
|
|
|
|
|
Oh, it will be, Dr. Jones, I assure
|
|
you. We have top men working on it
|
|
right now.
|
|
|
|
INDY
|
|
Who?
|
|
|
|
EATON
|
|
Top men.
|
|
|
|
Indy exchanges a look with Brody.
|
|
|
|
INDY
|
|
We may be able to help.
|
|
|
|
EATON
|
|
We appreciate that. And we won’t
|
|
hesitate to call on you.
|
|
|
|
MUSGROVE
|
|
(dismissing them)
|
|
Thank you all. Thank you again.
|
|
|
|
Indy looks them over coldly. He gets up, sullen.
|
|
|
|
|
|
145 EXT. PENTAGON STEPS - DAY 145
|
|
|
|
Indy, Brody and Marion emerge from the building. Brody bids
|
|
them farewell and moves off in another direction.
|
|
|
|
Marion clings to Indy’s arm in an energetic, very feminine
|
|
way, scolding him.
|
|
|
|
MARION
|
|
--Well they aren’t going to tell
|
|
you, so why don’t you just forget
|
|
it. I’d think you’d had enough of
|
|
that damn Ark. Just put your mind
|
|
on something else.
|
|
|
|
Indy stops, looking across the river, his mind occupied.
|
|
|
|
INDY
|
|
Yeah, like what?
|
|
|
|
Marion makes a face, then puts her arms around his neck and
|
|
plants a humdinger of a a kiss on his mouth. It goes on a
|
|
while. Finally they break.
|
|
|
|
INDY
|
|
It’s not the Ark -- but it’ll have
|
|
to do.
|
|
106.
|
|
|
|
|
|
They move down the steps, smiling.
|
|
|
|
|
|
146 INT. GOVERNMENT WAREHOUSE 146
|
|
|
|
The Ark of the Covenant sits in a wooden crate. A wooden
|
|
lid comes down and hides it from view. The lid is solidly
|
|
nailed to the crate as we read the stenciled message on
|
|
top.
|
|
|
|
TOP SECRET
|
|
|
|
ARMY INTEL. #9906753
|
|
|
|
DO NOT OPEN!
|
|
|
|
The hammering is completed and hands shift the heavy crate
|
|
onto a dolly.
|
|
|
|
THE END CREDITS ROLL AS WE SEE.
|
|
|
|
A Little Old Government Ware houseman begins pushing the
|
|
crated Ark down an aisle. Soon we see that the aisle is
|
|
formed by huge stacks of crates. They come in many shapes
|
|
and sizes, but when it comes right down to it, they all
|
|
look like the one that holds the Ark. All have markings
|
|
like the message we’ve just seen. Pretty soon we’re far
|
|
enough and high enough away from the Little Old Government
|
|
Ware houseman to see that this is one of the biggest rooms
|
|
in the world. And it is full. Crates and crates. All
|
|
looking alike. All gathering dust.
|
|
|
|
And then we notice that the Little Old Government Ware
|
|
houseman, pushing his new crate ahead of him, has turned
|
|
into another aisle and disappeared from view.
|
|
|
|
FADE OUT.
|
|
|
|
THE END
|
|
|