Indiana Jones and the Raiders of the Lost Ark
Writers: George Lucas, Philip Kaufman, Lawrence Kasda
"RAIDERS OF THE LOST ARK"
Screenplay by
Lawrence Kasdan
Story by
George Lucas
FADE IN:
EXT. PERU - HIGH JUNGLE - DAY
The dense, lush rain forests of the eastern slopes of the
Andes, the place known as "The Eyebrow of the Jungle". Ragged,
jutting canyon walls are half-hidden by the thick mists.
The MAIN TITLE is followed by this:
PERU
1936
A narrow trail across the green face of the canyon. A group
of men make their way along it. At the head of the party is
an American, INDIANA JONES. He wears a short leather jacket,
a flapped holster, and a brimmed felt hat with a weird feather
stuck in the band. Behind him come two Spanish Peruvians,
SATIPO and BARRANCA. Bringing up the rear are five Yagua
INDIANS. They act as porters and are wrangling the two heavily-
packed llamas. The Indians become increasingly nervous. They
speak to each other in bursts of Quechua. The American, who
is known to his friends as Indy, glances back at them.
BARRANCA
(irritated)
They're talking about the Curse again!
He turns and yells at the Indians in Quechua, his anger giving
an indication of his own fears. The party reaches a break in
the canyon wall and takes the trail through it.
When they emerge, their destination is revealed to them in
the distance. Beyond a thick stand of trees is the vegetation-
enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS.
The entire party is struck by the sight. The Indians,
terrified now, chatter away. Suddenly the three at the back
turn and run, dropping their packs as they go. Barranca yells
at the fleeing Indians and pulls his pistol out. He starts
to raise his arm to aim but Indy restrains it in a muscular
grip.
INDY
No.
Barranca looks evilly at Indy's hand upon him. Indy releases
him and smiles in a friendly way.
INDY
We don't need them.
Satipo watches this confrontation with some concern.
BARRANCA
I do not carry supplies.
INDY
We'll leave them. Once we've got it,
we'll be able to reach the plane by
dusk.
He turns back to the trail. Satipo gets the two remaining
Indians moving behind Indy. Satipo and Barranca then have a
fast, silent communication: Barranca indicates his desire to
slit Indy's throat; Satipo gives him a look that says "Be
patient, you idiot".
THE APPROACH TO THE TEMPLE
The party fans out to fight their way through the entwined
trees that guard the temple. Visibility is cut to five feet
in the heavy mist. Satipo extracts a short, native dart from
a tree and examines the point gingerly
SATIPO
(showing Indy)
The Hovitos are near. The poison is
still fresh... three days. They're
following us, I tell you.
INDY
If they knew we were here, they would
have killed us already.
The two Indiana jabber in Quechua, near hysteria. Barranca
is sweating profusely, eyes darting. He yells at the Indians
in Quechua to "shut up".
In the undergrowth, there is slithering movement.
Indian #1 draws aside a branch and is faced with a horrific
stone sculpture of a Chachapoyan demon. The Indian is so
frightened no sound comes out when he screams. He turns and
runs silently away.
Indian #2 calls to his friend. Getting no response, he steps
in that direction. A huge macaw, flushed from the undergrowth,
screams and flies away. Indian #2 does exactly the same thing,
never to be seen again.
Indy, Satipo and Barranca, just clearing the trees, look
back in that direction. They all turn to face the Temple.
It is dark and awesome. Vegetation curls from every crevice,
over each elaborate frieze. The entrance - round, open and
black - has been designed to look like open jaws.
INDY
So this is where Forrestal cashed
in.
SATIPO
A friend of yours?
INDY
Competitor. He was good, very good.
BARRANCA
(nervous)
No one has ever come out of there
alive. Why should we put our faith
in you?
Indy takes the weird feather from the band of his hat. From
around its point, he slips a tightly rolled piece of
parchment. Barranca and Satipo exchange a quick "So that's
where is was!" look. They all kneel as Indy spreads out the
parchment. On it is one-half of a crude floorplan of the
Temple.
INDY
No one ever had what we have...
partners.
Indy fixes them with an expectant stare. Satipo produces a
similar, but folded, piece of parchment. He lays it - the
other half of the floorplan - next to Indy's. They all regard
it for a moment, then Indy stands and walks toward the Temple.
Barranca's eyes are shining as they dart between the floorplan
and Satipo.
INDY
(back turned)
Assuming that pillar there marks the
corner and...
Barranca is suddenly on his feet, quietly drawing his pistol.
He raises it toward Indy as Satipo realizes with alarm what
he's doing. Too late. Indy's head turns and he sees Barranca.
Indy's next move is amazing, graceful and fast, yet totally
unhurried. His right hand slides up under the back of his
leather jacket and emerges grasping the handle of a neatly
curled bullwhip. With the same fluid move that brings Indy's
body around to face the Peruvian, the whip uncoils to its
full ten foot length and flashes out.
The fall of the whip (the unplaited strip at the end of the
lash) wraps itself around Barranca's hand and pistol. He
could not drop the gun now if he tried.
Indy gives the whip a short pull and Barranca's arm in jerked
down, where it involuntarily discharges the gun into the
dirt. Barranca is amazed, but feels some slack in the whip
and immediately raises the gun toward Indy again, cocking it
with his free hand.
Indy's face goes hard. And sad.
Indy sweeps his arm in a wide arc. Barranca spins around,
enclosed in the whip, his gun hand stuck tight against his
body. Indy gives one more short jerk on the whip handle and
Barranca's gun fires. Barranca falls dead.
Indy looks quickly at Satipo, who is shocked and frightened.
He raises his arms in supplication.
SATIPO
I knew nothing! He was crazy! Please!
Indy looks him over, then nods. He frees the whip from
Barranca's body and picks up the man. His eyes sweep the
surrounding woods.
INDY
Let's go.
INT. TEMPLE - INCLINED PASSAGE - DAY
Indy and Satipo, carrying a torch, walk up the slightly
inclined, tubular passage from the main entrance. The interior
is wet and dark, hanging with plant life and stalactites.
Their echoing footsteps intermittently overpower the sounds
of loud dripping, whistling air drafts and scampering claws.
HALL OF SHADOWS
Indy leads the way down a twisting hallway, Satipo's torch
barely lighting his way from behind. Indy disappears in a
shadow and when he reappears a moment later a huge black
tarantula is crawling up the back of his jacket. Indy doesn't
notice and disappears into another shadow, emerging with two
more tarantulas on his back.
Satipo sees them and makes a frightened grunting sound. Indy
looks at him, sees what he's pointing at and casually brushes
all three spiders off with his rolled whip, as he would a
fly. Satipo pirouettes for an inspection and Indy flicks one
off the Peruvian's back.
Indy begins picking up little pocket-sized artifacts from
the niches and ledges of the Temple. He continues to do this
as the men penetrate the Temple. His collecting is quick and
expert, evaluating the pieces in an instant, discarding some,
stuffing others into his clothes, and never stopping his
forward progress.
CHAMBER OF LIGHT
The men reach an arch in the hall. The small chamber ahead,
which interrupts the hall, is brightly lit by a shaft of
sunlight from high above. Indy stops, looks it over.
SATIPO
What's wrong? Are you lost?
Indy picks up a stick and throws it through the shaft of
light. Giant spikes spring together from the sides of the
chamber with a ferocious CLANG! And impaled on the spikes
are the remains of a white man, half-fleshed, half skeleton,
in explorer-type grab. Indy reaches out and takes hold of
the man's carcass. As the spikes slowly retract, Indy pulls
it free and seats the remains gently on the floor.
INDY
Forrestal.
SATIPO
(gulps)
We can go no further.
INDY
Now, Satipo, we don't want to be
discouraged by every little thing.
Indy steps sideways into the chamber. His back pressed against
the very points of the retracted spikes, he moves along the
edge of the light beam, and steps clear on the other side.
Satipo grimaces and begins sweating his way through.
STAIRWAY
Indy and Satipo come down stone stairs to a tight landing.
Framing the entry are a carefully strung network of dead
vines, each somehow hooked into the wall, narrowing the
opening even more.
INDY
(taking torch)
Let me see that.
He lowers the torch to the floor of the landing. The landing
is carpeted with human skeletons, one on top of another, all
squashed flat as cardboard. Satipo gasps. Indy looks up at
the ceiling of the landing, then steps onto skeletons, which
make a cracking noise under his feet.
INDY
Try not to touch the vines.
FOYER OF THE SANCTUARY
The men are in a high, straight hallway 50 feet long.
The door at the end is flooded with sunlight.
SATIPO
Señor, I think we are very close.
Indy stands still looking at the hall.
SATIPO
(impatient)
Let us hurry. There is nothing to
fear here.
INDY
That's what scares me.
They begin walking down the hall side by side. Satipo has
inched a little ahead. Suddenly his lead foot comes down and
through the floor! As Satipo begins to pitch forward, Indy
grabs him by the belt and pulls him back. They both look
down at the "floor".
Indy swings his whip across the floor. Fifteen feet of it
cuts open beneath the lash, falling away to reveal black pit
as wide as the hall. The illusory floor was made of dust-
covered cobwebs. Satipo picks up a stone and drops it down
the pit. No sound. The two men exchange glances. Indy looks
up at the high roof of the hall. He swings the whip up around
a support beam, tests its strength with a pull and swings
over the pit on the whip. From the other side he swings the
whip back to Satipo, who throws Indy the torch. Satipo swings
across. When they are both standing on solid floor there is
a moment of quiet in which they hear, from far, far below -
SPLASH! Indy wedges the whip handle into the wall and leaves
it strung to the beam for quick retreat.
THE SANCTUARY
A large, domed room. Ten evenly-spaced skylights send their
shafts of sunlight down to a unique tiled floor: white and
black tiles laid out in a lovely, intricate pattern. Indy
and Satipo stand at the door and look across the wide room
at the altar. There, in the supreme hallowed spot, is a tiny
jeweled figurine, Indy's real objective.
Two torches, many years old, are in holders by the door.
Indy takes one down and lights it. He gives the regular torch
to Satipo.
SATIPO
There's plenty of light, amigo.
Indy kneels and uses the unlit end of the torch to reach out
and tap a white tile. It is solid. He taps a black tile.
There is a whizzing sound and a tiny dark sticks in the torch.
Satipo points to the wall nearby: there is a recessed hole
there.
SATIPO
From that hole!
Indy nods, stands and looks around the sanctuary. The entire
room is honey-comed with the same kind of hole. Satipo sees
it too and is properly impressed.
INDY
You wait here.
SATIPO
If you insist, señor.
Torch in hand, Indy begins his careful walk across the
sanctuary. Stepping only on the white tiles, he almost appears
to be doing a martial arts kata. Before each big move he
waves the torch in front of him head to toe, looking at the
flame. Halfway out, he sees something on the floor and kneels
to look at it.
A dead bird lies on one of the white tiles. Its body is
riddled with little deadly darts. This has great significance
to Indy and he stands with even greater caution. He waves
the torch ahead of him and at waist height an air current
whips at the flame. Indy ducks under it and leaves a burn
mark on the white tile beneath it.
Satipo watches, wide-eyed and mystified.
Indy reaches the altar. The tiny idol looks both fierce and
beautiful. It rests on a pedestal of polished stone. Indy
looks the whole set-up over very carefully. From his jacket
he takes a small, canvas drawstring bad. He begins filling
it with dirt from around the case of the altar. When he has
created a weight that he thinks approximates the weight of
the idol, he bounces it a couple times in his palm
concentrating. It's clear he wants to replace the idol with
the bag as smoothly as possible. His hand seems ready to do
that once, when he stops, takes a breath and loosens his
shoulder muscles. Now he sets himself again. And makes the
switch! The idol is now in his hand, the bag on the pedestal.
For a long moment it sits there, then the polished stone
beneath the bag drops five inches. This sets off an AURAL
CHAIN REACTION of steadily increasing volume as some huge
mysterious mechanism rumbles into action deep in the temple.
Indy spins and starts his kata back across the sanctuary at
four times the speed.
Satipo's eyes widen in terror. He turns and runs.
THE RETREAT - INTERCUTTING INDY AND SATIPO
The sanctuary has begun to rumble and shake in response to
the mysterious mechanism. Just as Indy goes out the door, a
rock shakes loose from the wall and rolls onto the tiles
floor. Immediately, a noisy torrent of poison darts fills
the room.
IN THE FOYER
Satipo swings across the pit. He makes it just as the whip
comes undone from the beam, leaving Indy without an escape.
Satipo, extremely nervous, regards the whip a moment then
turns back to face Indy, who has run up to the far side of
the pit.
SATIPO
No time to argue. Throw me the idol,
I throw you the whip.
Indy hesitates, eyeing the rumbling walls.
SATIPO
You have no choice! Hurry!
Indy concurs with that assessment. He tosses the idol across
the pit to Satipo. Satipo stuffs it in the front pocket of
his jacket, gives Indy a look, then drops the whip on the
floor and runs.
SATIPO
Adios, amigo!
Indy grimaces. He had a feeling this might happen. He looks
around.
AT THE VINED LANDING
Satipo flies through like a chubby ballet dancer and takes
the steps five at a time.
IN THE FOYER
Indy runs in full stride to the edge of the pit and broad
jumps into space. He doesn't make it. His body hits the far
side of the pit and he begins to slide out of view. Only
wild clawing with his fingers at the edge of the pit stops
his descent. With just the tips of his fingers over the edge,
he begins pulling himself up.
AT THE CHAMBER OF LIGHT
Satipo has slowed down. He begins to edge carefully around
the light shaft.
AT THE VINED LANDING
Indy sails through sideways and rolls to a stop at the bottom
of the steps. His whip is grasped in his hand. As he raises
himself, he hears, from above the giant spikes of the Chamber
of Light CLANG! and an abrupt, sickening rendition of SATIPO'S
LAST SCREAM. Indy runs up the steps. The rumbling sound grows
louder.
AT THE CHAMBER OF LIGHT
Indy slides to a stop. The spikes have retracted, taking
Satipo's body to one side. Indy edges into the chamber with
his back to the shaft of light. Soon he is face to face with
the dead Satipo; spikes protrude from several vital spots in
the Peruvian's body. Indy removes the idol from Satipo's
pocket and moves quickly out the other side.
INDY
Adios.
THE INCLINED PASSAGE
Indy shoots out of a cut-off hallway and turns toward the
exit. The rumbling is very loud and now we see why: right
behind Indy a huge boulder comes roaring around a corner of
the passage, perfectly form-fitted to the passageway. It
obliterates everything before it, sending the stalactites
shooting ahead like missiles. Indy dashes for the light of
the exit. His hat flies off his head. Almost immediately it
is crushed by the boulder. Indy dives out the end of the
passage as the boulder slams to a perfect fit at the entrance,
sealing the Temple.
EXT. FRONT OF THE TEMPLE - DAY
Indy lies on the ground, gasping for air. A shadow falls
across him and he looks up.
WHAT HE SEES
Looming above him are three figures. Two are HOVITOS WARRIORS
in full battle paint and loin cloths. They carry long blow
guns. But the man in the center draws Indy's attention. He
is a tall, impressive white man, dressed in full safari outfit
including pith helmet. His name is EMILE BELLOQ. His face is
thin, powerful; his eyes hypnotic; his smile charming, yet
lethal. His heavily French-accented speech is deep,
mellifluous, wonderful. Back beyond Belloq and his two
escorts, thirty more Hovitos Warriors hover at the edge of
the trees.
BELLOQ
Dr. Jones, you choose the wrong
friends. This time it will cost you.
Belloq extends his hand. Indy looks at it, then produces the
idol and hands it to Belloq. Belloq extends his other hand,
smiling. Indy hands over his gun. Belloq sticks it in his
jacket.
BELLOQ
And you thought I'd given up.
INDY
(eyeing the Hovitos)
Too bad they don't know you like I
do, Belloq.
BELLOQ
(smiles)
Yes, too bad. You could warn them...
if only you spoke Hovitos.
With that, Belloq turns dramatically and holds the idol high
for all the Hovitos to see and says something in Hovitos.
There is a murmur of recognition and all the Indians,
including Belloq's escorts, prostrate themselves upon the
ground, heads down.
Indy is immediately up and running toward the edge of the
clearing.
BELLOQ
(in Hovitos)
Kill him!
AT THE EDGE OF THE CLEARING
Indy disappears into the foliage. An instant later, the leaves
are peppered with a rain of poison darts and spears.
EXT. THE JUNGLE - INDY'S RUN - VARIOUS SHOTS - DAY
Indy runs like hell through steadily falling terrain. And
always close behind, a swift gang of angry Hovitos.
Occasionally they get close enough to send a dart or spear
whizzing past Indy's head.
EXT. THE URUBAMBA RIVER - DUSK
An amphibian plane sits in the water beneath a green cliff.
Sitting on the wing is JOCK, the British pilot. Indy breaks
out of some distant brush and runs along the path at the top
of the cliff.
INDY
(yelling)
Get it going! Get it going!
Jock hops in and fires up the plane's engines. Indy reaches
a spot on the cliff above the place, glances back, them jumps
into the river. He comes up, swims to the plane and grabs a
strut.
INDY
GO!
Jock starts the plane moving across the water as Indy walks
across the wing and falls into the passenger compartment.
INT. JOCK'S PLANE - DUSK
Indy relaxes and lies across the seat, a big smile on his
face. One hand drops to the floor of the cabin and Indy jumps,
hitting his head. On the floor of the cabin is a huge boa
constrictor. Indy tries to get his whole body onto the seat.
Jock sees what's happening.
JOCK
Don't mind him. That's Reggie.
Wouldn't hurt a soul.
INDY
I can't stand snakes.
JOCK
The world's full of them, you know.
INDY
I hate them.
JOCK
Come on now, Sport, show a little of
the old backbone.
EXT. JOCK'S PLANE - TWILIGHT
It soars off over the dark jungle.
INT. INDY'S OFFICE, SMALL EASTERN COLLEGE - DAY
It's autumn and the pretty, New England campus out Indy's
window reflects it in dazzling color. A few weeks before the
start of classes. Activity just picking up. Some students
about.
Indy is at a bookcase near the window and he looks quite
different in this setting. His outfit is tweedy, slightly
rumpled in the professional style. Part of his attention is
focused in a book and he wears glasses to see the fine print.
The office is cramped, absolutely inundated with books, maps,
etchings and archeological artifacts. In fact, the only neat
spot in the room right now is Indy's desk, which has been
cleared off expressly for the benefit of -
MARCUS BRODY
The Curator of the National Museum in Washington, D.C. Brody
is examining the small artifacts Indy pocketed on his way
into the Peruvian Temple. He occasionally uses a jeweler's
eyepiece to get a closer look. But he is distracted, his
concerns elsewhere, and it is this that his old friend Indy
senses from across the room.
BRODY
Do you think the idol will ever show
up?
INDY
I don't know. Just because Belloq
had it doesn't mean he kept it.
Indy snaps the book closed and puts it on the shelf. He takes
his glasses off and focuses on Brody. At the windowed door
to his office, two pretty Coeds pause for a moment, look in
at their sexy Archeology professor, giggle and disappear.
INDY
Getting it away from those Indians
would be a neat trick
(a hard look)
I hope they got him.
A young male graduate student, Indy's TEACHING ASSISTANT,
taps on the door and then pushes his way in with an armload
of reference books. Indy helps him find a spot for them.
TEACHING ASSISTANT
I couldn't get the McNabe, Professor.
Someone's got it checked out 'til
next month when classes start.
INDY
That's all right, Phil. Thanks a
lot.
TEACHING ASSISTANT
(eager to please)
Will there be anything else?
INDY
No. I'll see you Thursday.
The Teaching Assistant leaves. Brody is scowling as he
examines the last of the artifacts.
INDY
Hey, if you don't like them, I can
always return them.
BRODY
No, they're beautiful. The Museum
will buy them as usual. No questions
asked.
INDY
Then what's wrong?
BRODY
I brought along some people today.
INDY
What kind of people?
BRODY
Government.
INDY
(concerned)
Government?
BRODY
Don't worry, it's not about your
business.
(indicates the
artifacts)
They're from the Army.
INDY
I've already served.
BRODY
Army Intelligence. They're looking
for Abner.
INT. INDY'S LECTURE HALL / CLASSROOM - DAY
Indy's course - a combination of archeology and anthropology -
is taught in this amphitheater-type lecture hall. His desk
and lectern hold large reference books; blackboards line the
wall. Bones, maps, charts festoon the walls.
Indy leans against his desk talking with Brody and two
uniformed Army officers, COLONEL MUSGROVE and MAJOR EATON,
who are situated around the first seats in the classroom.
MUSGROVE
But you did study under Professor
Ravenwood at the University of
Chicago?
INDY
(nods)
We haven't spoken in ten years. I'm
afraid we had a bit of a falling
out.
EATON
You know nothing of his whereabouts?
INDY
(negative)
Just rumors. Somewhere in Asia, last
I heard.
Musgrove and Eaton exchange a look; they're disappointed.
EATON
(to Musgrove)
Maybe Dr. Jones can make sense of
it.
Again the military men have a silent communication, deciding
what to reveal.
MUSGROVE
Well... you must understand, Dr.
Jones, this is all strictly
confidential.
INDY
I understand.
MUSGROVE
Yesterday, one of our European
sections intercepted a Nazi communiqué
from Cairo to Berlin. We don't quite
know what to make of it.
Musgrove takes a sheet from his briefcase.
MUSGROVE
Here it is - "Tanis development
proceeding. Acquire headpiece, Staff
of Ra, General Tengtu Hok, Shanghai.
Locate Abner Ravenwood, U.S."
Brody is excited. He looks at Indy.
BRODY
Tanis. They must have discovered the
lost ruins.
Indy contemplates this big news; he's impressed.
INDY
(to himself)
Tanis. Ain't that somethin'!
EATON
Frankly, we're a little suspicious...
An American being mentioned so
prominently in a secret Nazi cable.
INDY
Ah, Ravenwood's no Nazi.
EATON
Then what do they want him for?
INDY
They're looking for the headpiece to
the Staff of Ra.
MUSGROVE
(indicates his sheet)
But it says here that's in China.
INDY
Only half of it. Ravenwood had the
other half.
EATON
What would the Nazis want with this -
this Staff of Ra?
BRODY
I can tell you that. Over the last
two years the Nazis have had teams
of archeologists running around the
world looking for all kinds of
religious artifacts.
MUSGROVE
That's right. Hitler's a nut on the
subject. Crazy. He's obsessed with
the occult.
EATON
What is this Staff of Ra, anyway?
INDY
It all has to do with the Ark of the
Covenant.
(the Army guys look
mystified)
The chest the Hebrews used to carry
around the Ten Commandments.
Now it's the Army men who are impressed.
INDY
An Egyptian pharaoh stole the Ark
from Jerusalem and took it back to
the city of Tanis. A short time later,
Tanis was consumed by the desert in
a sandstorm that lasted a year. But
before that, the Pharaoh had had the
Ark hidden away in a secret chamber
called the Well of the Souls. Which
is where the Staff of Ra comes in.
Indy moves to the blackboard and makes a quick sketch to
give a rough idea of the system as he describes it. (and we
get a glimpse of what an interesting and enthusiastic teacher
he must be).
INDY
Now this was rather clever. The Staff
was really just a big stick - oh, I
don't know, say like this -
(he indicates about
six feet)
no one really knows for sure. Any
way, it was capped by an elaborate
headpiece with a carving of the sun
at the top. What you had to do was
take the Staff to a special map room
in Tanis - it had the whole city
laid out in miniature on the floor.
When you placed the Staff in a certain
spot in this room, at a certain time
of day, the sun would shine through
a hole here in the headpiece and
then send a beam of light down here -
to the map - giving you the location
of the Well of the Souls...
MUSGROVE
...where the Ark of the Covenant was
kept.
INDY
(nods)
Which is probably what the Nazis are
after.
EATON
What's this Ark look like?
INDY
Look like? Why, it's right here...
Indy pulls a big format book from the stack on his lectern
and flips through the pages until he finds a large color
print. The other men gather to look.
THE PRINT
Fills the screen.
It shows a Biblical battle. The Israelite Army is vanquishing
an opposition force. At the forefront of the Israelite ranks,
two men carry the Ark of the Covenant, a beautiful gold chest,
crowned by two sculptured gold angels. The men do not touch
the Ark itself; rather they carry it by use of two long wooden
poles which pass through rings in the corners of the Ark.
The painting is very dramatic, full of smoke, tumult and
sinewy dying men. But the most astounding thing in the picture
is the brilliant jet of white light and flame issuing from
the wings of the angels. It pierces deep into the ranks of
the retreating enemy, wreaking devastation and terror.
EATON
Good God!
INDY
Yes. That's what the Hebrews thought.
MUSGROVE
What's that supposed to be coming
out of there?
INDY
Who knows... lightning... fire...
the power of God.
EATON
I'm beginning to understand Hitler's
interest in this thing.
INDY
Oh yes. The Bible tells of it leveling
mountains and wasting entire regions.
Moses promised that when the Ark was
with you, "your enemies will be
scattered and your foes fell before
you".
(pause)
An army which carries the Ark before
it is invincible.
Eaton and Musgrove exchange worried looks.
INDY
Oh, there's one other thing that
Hitler undoubtably believes about
the Ark...
(a long pregnant pause)
It's said that the Lost Ark will be
recovered at the time of the coming
of the True Messiah.
MUSGROVE
Dr. Jones, you've been very helpful.
I hope we can call on you again if
we have questions.
INDY
Most certainly.
Brody and Indy exchange a look as they all shake and Brody
starts to leave with the Army men.
EXT. FRONT DOOR, INDY'S HOUSE - NIGHT
Indy's English Tudor, upper middle class home. Quite toney;
well beyond the financial reach of an honest college
professor. Marcus Brody has already rung the bell. Indy opens
the door. He is dressed in a tuxedo.
BRODY
I've got to talk to you.
INDY
This isn't really a good time.
BRODY
Indy, it's important.
INDY
All right. Come on in.
INT. FOYER, INDY'S HOUSE
The lush tone continues here in Art Deco and shiny marble.
Indy motions Brody toward the study to one side.
INDY
I'll be in a minute.
As Brody passes the entrance to the expansive living room,
he spots a beautiful, silk-gowned Harlow-type lounging on
the sofa in front of a roaring fire. She is sipping champagne.
INT. STUDY, INDY'S HOUSE
Brody enters the book-lined, dark-wooded study. He paces for
a moment before the fire which is dying in the fireplace,
then spots something and goes over to Indy's big desk. The
surface is covered with open books, monographs, maps and
drawings - all about the Ark of the Covenant. Brody smiles;
he knows his friend very well. Indy comes in, closing the
door behind him. Brody turns to him with a triumphant
expression.
BRODY
They want you to go for it. And
they'll pay.
INDY
(smiles)
Good work, Marcus. I had a feeling
this would happen. And, of course,
the Museum gets the Ark when we're
done.
BRODY
(smiles)
Of course.
Indy's manner is vigorous, aggressive.
INDY
Okay, here's the way it's gonna be.
First, I'll high-tail it to Shanghai
and get the piece from General Hok.
Then I think I know where I can find
Ravenwood. If only I can get -
BRODY
General Hok's a tough customer. They
don't call him the Wild Boar for
nothing. And he's tied in with the
Japanese.
INDY
I'll worry about that when the time
comes. My only hope is to find the
Well of the Souls before the Nazis
do.
WIPE TO:
EXT. IN THE AIR - DAY / NIGHT
A Pan Am Clipper flies west over the Pacific.
WIPE TO:
INT. KEHOE'S CAR (SHANGHAI AIRPORT) - DAY
Indy is barely into the front seat of a dilapidated Ford as
the driver, BUZZ KEHOE, is peeling out into traffic. In the
back seat is a Chinese named BANG CHOW. Kehoe zigs crazily
through traffic with only his left hand as he reaches over
to shake with Indy.
KEHOE
Buzz Kehoe, Army Intelligence. You've
met Bang Chow.
INDY
What's the hurry?
KEHOE
Some German agents got here two hours
ago. Luckily, Bang was able to have
them detained at Customs. We'll have
to hurry.
EXT. HOK'S STREET - DAY
Kehoe's car emerges from an alley. Down the block is Tengtu
Hok's modest, walled palace. Kehoe's car slows a bit and
Bang steps from the moving car with a small black suitcase
in his hand. While he heads down the street toward Hok's
place, Kehoe's car continues across the street and into an
alley on the other side.
EXT. HOK'S STREET - IN FRONT OF PALACE - DAY
A Mercedes limousine appears round a corner and squeals to a
stop at the front gate of the palace, which is manned by a
sturdy Chinese Gateman. There are three Germans inside, one
the driver.
EXT. ALLEY BEHIND HOK'S MUSEUM - DAY
Kehoe, alone now, pushes a trash container casually into
position to hide a newly created hole in the rear wall of
Hok's Museum where several stone blocks have been removed.
He looks around and ambles back to the car.
INT. HOK'S PALACE - ENTRY HALL
The three Germans wait impatiently in a magnificent foyer. A
chime sounds and huge double doors open to reveal TENGTU
HOK, flanked by two uniformed Japanese Soldiers and a robed
Chinese Advisor. He wears a fantastic gold ornamental robe.
Despite the majesty, however, nothing can disguise the fact
that Hok is basically a wild, fat barbarian; an animal. Hok
and his escort group bow in what is the beginning of a long
welcoming ceremony. The Germans exchange impatient glances
but decide they should play it as it comes. They bow.
INT. HOK'S MUSEUM
No person in sight. Instead, we see a magnificent display of
ancient artifacts. Glass cases hold the velvet-couched pieces
at random spots on the shining marble floor. We hear an odd
sound. Near the floor on the rear wall of the museum, a steel
ventilation grate moves. A hand slides it gently across the
marble. Indy sticks his head out and looks around.
INT. HOK'S PALACE - TEA ROOM
The three Germans are being served tea and exotic delicacies.
A pleased Tengtu Hok watches from a throne-cushion. When the
tray of tiny delicacies is presented to him, he takes a
massive handful, crushing them together on their way to his
smiling mouth.
INT. HOK'S MUSEUM
A huge golden gong, seven feet in diameter, is suspended
from the ceiling by a hook. An enormous hammer hangs poised
above it, from which emanate myriad tiny threads which run
up and across the ceiling, then down to the various display
cases. Indy looks up at the gong, then continues his quick,
quiet foray among the cases. Beyond him, a high window.
INT. HOK'S PALACE - TEA ROOM
Hok and his visitors stand to go. The German's pleased
expressions make it clear they're finally on their way to
the museum.
INT. HOK'S MUSEUM
Indy arrives at his destination. The lovely, carved gold
section of the headpiece is nested on purple velvet in a
glass case. At the bottom of the piece is a round hollow
where the staff would fit. There is a grunting sound behind
Indy and he spins, already reaching for his revolver.
A fierce Japanese Samurai is running at Indy full speed down
an aisle of display cases. His sword is raised over his
shoulder ready to cut Indy in half. He's six feet away when
Indy's gun levels and fires twice, blasting him backwards.
Indy is still looking over his gun when another samurai sword
comes down from the side and knocks the pistol brutally out
of Indy's grip; his hand avoids amputation by a quarter of
an inch.
An amazed Indy backs away from the crossing aisle as the
Second Samurai steps in to face him, sword raised. Indy backs
away into an open space and his bullwhip appears in his hand.
He gives it one savage CRACK! to announce its arrival and
the Samurai slows down, eyeing it curiously. The Samurai
does not look unhappy about this confrontation. How pure it
is - The Sword versus The Whip.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
Tengtu Hok and the Germans have obviously heard something.
They are hurrying along the walkway at the side of the
building, Hok in the lead. Up ahead is the foot bridge which
crosses from the palace to the museum entrance over a moat.
EXT. STREET IN FRONT OF THE PALACE - DAY
The Lovely Mercedes limousine blows up.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
The Germans spin toward the blast. Drawing weapons, they run
back to investigate. Hok follows them, confused.
INT. HOK'S MUSEUM
Indy and the Samurai face each other. They're both breathing
hard from previous, no-contact passes at each other. Now
Indy begins swinging the whip over his head again. It whizzes
out toward the Samurai's face. The Samurai takes two lightning-
quick cuts at the leather, but misses. Indy swings for the
Samurai's feet; the Japanese jumps nimbly, slashing at the
whip. Indy does it again. The Samurai hops it. Once more.
The Samurai is concentrating on hopping it.
Indy sees it. The split second he wants. The whip flashes up
from the floor and wraps solidly and irrevocably around the
Samurai's neck. Indy gives it a murderous pull and the Samurai
is dead on his feet.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
Hok and the three Germans are looking down at the flaming
remains of the Mercedes. A look of concern crosses Hok's
face. He turns and runs back toward his beloved museum.
INT. HOK'S MUSEUM
Indy is at the case containing the headpiece. He smashes the
glass with a samurai sword, reaches in and grabs the piece.
Immediately, behind him, the huge hammer falls and the sound
of the gong thunders through the museum.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
At the sound of the gong, the running Hok skids to a halt
with a crazed expression on his face. He disappears for two
seconds in an alcove and emerges holding a big, black Thompson
Submachine Gun. He runs across the foot bridge and is just
barely over it when it blows up. Hok, safe, looks behind him
in amazement and then turns to the museum.
INT. HOK'S MUSEUM
The double doors at the entrance slam open to reveal Hok.
Indy is halfway along an unprotected wall back to his
ventilation entry route. Hok opens up on him, cutting off
his retreat. Indy jumps behind a marble column, which is
promptly blasted with machine gun fire.
Indy looks above him, sees the giant disk of the gong.
Reaching up, pushing with tremendous effort, he maneuvers it
off the hook. It bounces down to the floor on its side,
chipping the marble with its monstrous weight. Indy steadies
it and then puts his whole body into rolling it across the
room toward the window. As it starts to roll, Indy slips
behind it and runs across the room with it.
Hok can see the rolling gong. He opens up on it. The vicious
cacophony of machine gun fire is joined by the musical reports
of bullets hitting the gong and ricocheting away. Very, very
noisy.
Behind the gong, Indy gauges his move. As the gong is about
to be stopped by a marble bench, Indy talks a long stride
onto the bench and dives through the glass of the high window.
Hok's bullets hit the wall.
EXT. ROOF - DAY
Indy lands in a shower of glass on the jutting roof of the
museum's first floor. He rolls to a crouch and is immediately
being fired upon. The Germans, cut off from the museum, are
standing on the palace walkway firing at him. Indy takes off
fast for the rear of the museum.
EXT. ALLEY BEHIND MUSEUM - DAY
Kehoe, craning to locate Indy, has the Ford rolling slowly
along the back of the museum. Bang scouts from the back seat.
Indy appears on the roof at a run, gauges the movement of
the car and jumps from the roof of the museum to the roof of
the sedan. Unfortunately, the roof of the old car can't take
it and Indy's legs knife right on through to the interior,
where he scares the hell out of Kehoe.
INT. KEHOE'S CAR - DAY
Indy squirms his way down into the front seat.
KEHOE
Jesus! Are you all right!
INDY
(he's felt better)
Great. Got it.
Kehoe guns it, throwing Indy back against the cushions.
KEHOE
What now?
INDY
I've got to get to Nepal.
WIPE TO:
EXT. DC-3 IN THE AIR - DUSK
The plane flies west into the sunset.
INT. DC-3 - NIGHT
Under a meager seat light, Indy is pouring over a journal
article by Abner Ravenwood and related map of Nepal.
A few rows back, across the aisle, a trenchcoated European
Spy eyes Indy.
WIPE TO:
INT. "THE RAVEN" SALOON - PATAN, NEPAL - NIGHT
A huge stuffed raven, wings spread wide, is mounted behind
the long bar in the noisy, crowded saloon. A lively mix of
patrons is represented in the late hour tableau: Nepalese
natives, fierce Sherpa mountain guides, sleazy international
smugglers and fugitives, and, of course, mountain climbers
from every corner of the earth. A tall Nepalese, MAHDLO, is
the bartender.
In a corner near the fireplace trouble breaks out suddenly
between the groups at two neighboring tables. Ferocious
representatives from each table - one a wild-looking SHERPA,
the other a muscular Australian CLIMBER - jump up to face
each other. As the two contenders stand poised for action,
their respective supporters shift in their places, fondling
lethal ice axes and clubs.
SHERPA
Gmoiska! Shurga rintoik!
CLIMBER
Aye! That'll be your last word.
The bar has quieted ominously and so we hear with startling
clarity when - a door behind the bar slams open with a huge
BANG! and some Presence, too small to be seen as it moves
through the forest of towering patrons, makes a beeline for
the troubled corner of the bar. A path clears for it.
The Sherpa and the Climber are about to kill each other when
the Presence arrives directly between them: she is MARION
RAVENWOOD, twenty-five years old, beautiful, if a bit hard-
looking. At this moment, however, that look does not hurt.
She is not intimidated by the combatants; she jabs accusatory
fingers into their chests. She is angry as hell. The patrons
shrink under her gaze.
MARION
That does it! I've been patient with
you no-goods long enough. I'm not
open at 2 o'clock for myself, you
know. It's all for you. And how do
you repay me: Trouble and noise and
blood on my floor! I won't have it.
Everybody out! Out! Out! We're closed.
Closed! Do your killing outside! And
don't leave any bodies on the porch!
The place clears quickly. Stragglers and grumblers are given
special attention by Marion and Mahdlo, who has come from
behind the bar carrying a big axe handle. Mahdlo herds the
crows out the front door as Marion turns and walks behind
the bar.
A scowl on her lovely face, she has just begun clearing the
bar of glasses when she notices one remaining Patron huddled
over a glass at the far end of the bar. Grimacing in
exasperation, she heads that way like a locomotive.
MARION
Hey you, deaf one! I said out of my
place. I don't mean next Easter, I
mean now -
She is almost on him when Indy looks up smiling. Marion stops,
stares, shocked.
INDY
Hello, Marion.
She hits him with a solid right to the jaw, knocking him off
the barstool on the floor. He rubs his jaw and smiles up at
her.
INDY
Nice to see you, too.
MARION
Get up and get out.
INDY
(getting up)
Take it easy. I'm looking for your
father.
MARION
(bitterly)
Well you're two years too late.
Indy's attitude changes instantly. This is sad news. He is
silent for a long time. Mahdlo comes in the front door and
hurries forward when he sees Indy with Marion. He looks to
her for guidance, but she stays him with a gesture.
MARION
Go home, Mahdlo. I'll see you
tomorrow.
Mahdlo is hesitant, but lays the axe handle on the bar and
goes out. Indy has been barely aware of him. Now he settles
again on the barstool. Marion has a vindictive look. She'll
let him stay, but she wants to inflict as much pain as
possible.
INDY
What happened?
MARION
Avalanche. Up there. He was digging.
What else? He spent his whole life
digging. Dragging me all over this
rotten earth. For what?
INDY
Do you find him?
MARION
Hell no. He's buried where he was
working. Probably preserved real
good, too. In the snow.
Suddenly the hardness cracks. She is on the verge of tears
and does not want him to see them. She turns away and takes
a whiskey bottle from the shelf, then turns back to pout
herself a drink.
INDY
Not a bad way to go. Doing what he
loved.
MARION
(vitriolic)
Don't give me that stuff! What do
you know?
(she takes a drinks)
I'm the one that was left in a bad
way. He didn't have a penny. Guess
how I lived, Mister Jones. I worked
here. And I wasn't the bartender.
(another swallow)
Finally the guy that owned the joint
went crazy. Snow crazy. They took
his away screaming. As they dragged
him out, he said the place was all
mine for life.
She looks around the saloon.
MARION
Can you imagine a more evil curse?
(pause)
So far, it's working.
INDY
Why not leave? Go back to the States.
MARION
I'll go back. I'll get there. Not
that there's a soul there who knows
my name or cares. But I'll go. And
when I do, they'll know me. 'Cause
I'm going to go back in style. With
money. A goddamn lady!
INDY
Where you gonna get it?
MARION
If I knew that, you think I'd still
be running this dive?
Indy looks at her, thinking. Under his gaze, she blushes,
for reasons only she understands. She looks into her glass
and, for a moment, she softens.
MARION
I'll tell you something Indy. I've
learned to hate you in the last ten
years. But somehow, no matter how
much I hated you, I always knew that
someday you'd come through that door.
I never doubted that. Something made
is inevitable.
(hopefully)
Why are you here... now... tonight?
Indy takes a long time to answer.
INDY
I need one of the pieces your father
collected.
Marion's eyes go icy. She swings at him again with her right,
but this time he catches her at the wrist. Then he stops her
left, which she has brought up to slap him.
MARION
You son-of-a-bitch! You know what
you did to me, to my life? This is
your handiwork.
INDY
I never meant to hurt you.
MARION
I was a child!
INDY
You knew what you were doing.
MARION
I was in love.
INDY
I guess that depends on your
definition.
MARION
It was wrong. You knew it.
Indy releases her arms.
INDY
Look, I did what I did. I don't expect
you to be happy about it. But maybe
we can do each other some good.
MARION
Why start now?
INDY
Shut up and listen for a second. I
want that piece your father had.
I've got money.
This stops her.
MARION
How much?
INDY
Enough to get you back to the States.
Where are his things?
MARION
Gone. I sold it all. It was all junk.
The junk he wasted his life on.
INDY
Everything?
Marion nods.
INDY
(giving up)
That's too bad.
Indy feels tired, defeated. Marion is pleased.
MARION
You look disappointed. I like that.
How's it feel?
Indy has to smile at her glee.
MARION
(nods at his empty
glass)
What are you drinking?
INDY
Seltzer.
MARION
(refilling his glass)
Real man's drink. Me, I like scotch.
And I like bourbon. And vodka and
gin. I'm not much for brandy. I'm
off that.
She pours herself another as Indy watches, amused.
INDY
You're a tough broad now, aren't
you?
MARION
It's no act, pal. This ain't
Schenectady.
INDY
I can only say I'm sorry so many
times.
Marion looks at him thoughtfully, takes a drink.
MARION
You really have money? You don't
look rich.
(Indy nods)
I may be able to locate some of his
things. I know who's got them. What
do you want?
INDY
A bronze piece, about this size. In
the shape of the sun. Probably broken
off at the bottom. Has a little hole
in it, off-center. Does that sound
familiar?
Marion thinks, nods slowly.
INDY
Do you know where it is?
MARION
Maybe. How much?
INDY
Three thousand. American.
MARION
(negative)
That'll get me back, but not in style.
This doodad must be pretty important.
INDY
Maybe.
A huge smile lights up Marion's face.
MARION
I knew it would happen eventually. I
knew it. Something had to go my way.
(pours herself another
drink)
I've got to think this out. I'm used
to bargaining with yaks.
INDY
Okay, five thousand. That's all I
can give you now. I can get you more
when you land in the States.
MARION
You word, huh?
(Indy nods)
Just like you said you'd be back
last time? That was your word too.
INDY
I'm back, aren't I?
Marion sneers and they smile together.
INDY
You can trust me.
MARION
Come back tomorrow.
INDY
Why?
MARION
Because I said so, that's why. It's
about time I called the shots in
this relationship.
Indy nods, gets up to go.
MARION
Wait a minute. Leave the five thousand
here.
(Indy hesitates)
You want trust, give some. I want to
smell your money.
Indy thinks about this a moment, then reaches inside his
shirt and pulls cash from a money belt. He lays five grand
on the bar.
INDY
I trust you.
MARION
You're an idiot.
INDY
I've heard that.
Indy starts for the door. Marion takes another think. She is
getting high.
MARION
Hold it. Come here.
INDY
(moving back)
Bossy, aren't you?
MARION
That's right. Give me a kiss.
Indy looks into her eyes, then leans over the bar and kisses
her deeply. When the kiss ends, their faces are very close.
Marion is flushed. She liked it and would like more. She
raises her glass between them to discipline herself.
MARION
Get out of my place.
Indy smiles and walks to the front door. Then, without looking
back -
INDY
Tomorrow.
He's gone. Marion stares after him, thinking. She takes a
drink. Then slowly, her hand comes up to loosen the scarf
that is draped around her throat. It falls away, revealing
her graceful neck above the dipping top of her blouse. Hanging
there on a gold chain against her white skin is a sun-shaped
golden medallion. The bottom looks broken off. Marion lifts
the medallion so she can see it in her hand, then looks
thoughtfully after Indy.
EXT. STREETS OUTSIDE "THE RAVEN" - NIGHT
Indy sits thinking at the wheel of an old car. Finally, he
puts the car in gear and drives away.
Across the street, the shadow in a doorway comes to life. A
dark form steps out to look at Indy's departing car; it is
the European Spy from the DC-3. He hurries off in the opposite
direction.
DISSOLVE TO:
INT. "THE RAVEN" - NIGHT
Marion stands before the fire that is shrinking in the
fireplace. She jabs at it abstractedly with a poker, thinking.
Suddenly tears well up in her eyes. She lets the poker slip
from her hand, wipes away the tears. She walks across the
room to the end of the bar, still cluttered with bottles and
glasses, and stops at the pile of American money Indy has
left. She takes the chain from around her neck and lets the
medallion slide off it into her hand. She places it on the
bar next to the pile of money, thinking. Then, having reached
some decision, she picks up the pile of bills, walks up the
back of the bar and pulls a small wooden box from under the
bar. She flips open the top, puts the cash inside and closes
the top. She leaves the box on the bar and starts back toward
the medallion. The front door of the saloon bursts open and
Four Bad Men come in. Marion, halfway between the valuable
possessions and not wishing to draw attention to either,
stops where she is.
The Four Bad Men who advance on her are:
1.) the obvious leader, a short, vile, sadistic German in
spectacles by the name of BELZIG.
2.) a trenchcoated SECOND NAZI.
3.) a ratty-looking NEPALESE and
4.) a mean MONGOLIAN. The second NAZI and the MONGOLIAN both
carry submachine guns.
BELZIG
Good evening, Fraulein.
MARION
The bar's closed.
BELZIG
We are not thirsty.
The Mongolian and the Nepalese poke around, checking to make
sure there's no one else there.
Down at the end of the bar, the medallion lies partially
hidden by surrounding glasses and bottles. The Second Nazi
stops very near it, but turns his back to it to face Belzig
and Marion.
MARION
What do you want?
BELZIG
The same thing your friend Dr. Jones
wanted. Surely he told you there
would be other interested parties.
Marion shakes her head.
BELZIG
Ah, the man is nefarious. I hope for
your sake he has not yet acquired
it.
MARION
Why, are you willing to offer more?
BELZIG
Almost certainly. Do you still have
it?
MARION
No. But I know where it is.
Belzig's smile fades at this news. He's not a patient sort.
Marion is chilled by the look. She turns and moves to the
shelf of bottles behind her, reaching high for one, very
near the large stuffed raven. He hand lingers there a moment
and we see -
From an angle behind the stuffed raven, that the left wing
spread hides a Baretta automatic pistol. Marion's hand is
very near it, but withdraws with only a whiskey bottle as
the Mongolian walks toward her behind the bar.
Marion opens the bottle before Belzig, who watches her
intently.
MARION
How 'bout a drink for you and your
men?
The Second Nazi lights up at this suggestion. Belzig gives
him a withering look.
BELZIG
We will stick to the business at
hand, Fraulein.
MARION
(tough)
Fine. Why don't you come back tomorrow
when Jones is here and we'll have an
auction?
Belzig gives her a cold look then turns and walks over toward
the fireplace. As soon as his back is turned, the Second
Nazi grabs the nearest whiskey bottle and takes a quick pull.
In so doing, he leaves the medallion completely exposed.
Marion is aware of this as she looks at him. But he quickly
puts the bottle down again, obscuring the medallion, when
Belzig speaks from the fireplace.
BELZIG
I'm afraid an auction is not possible.
(pause)
Your fire is dying here, Fraulein.
(a beat, then
threatening)
Why don't you tell us where the piece
is right now?
MARION
Listen, Herr Mac, I don't know who
you're used to dealing with, but no
one tells me what to do in my place.
Belzig, still looking in the fire, sneers and shakes his
head.
BELZIG
Americans! You're all alike. Fraulein
Ravenwood. I'll show you want I'm
used to.
He motions with his hand. The Mongolian moves up behind Marion
and lifts her roughly over the top of the bar, knocking over
bottles and spilling liquor. He deposits her on the other
side, where the Nepalese and the Second Nazi flank her and
hold her cruelly, arms behind her back. Marion raises a
ruckus.
Belzig turns from the fireplace. In his hand is the poker,
its end glowing orange. He advances on Marion. Marion stops
yelling, her eyes widen in terror.
MARION
Wait! I can be reasonable -
BELZIG
That time is passed.
The glowing poker point moves inexorably across the room
toward Marion's face.
MARION
You don't need that. I'll tell you
everything!
BELZIG
Yes, I know you will.
Belzig has no intention of stopping now. The glowing tip is
approaching Marion's face. The Nepalese watches with savage
glee.
The tip of the poker is five inches from Marion's nose when
there is a loud CRACK! and the fall of Indy's bullwhip wraps
around the middle of the poker and tears it out of Belzig's
hands. The poker sails high across the room, free of the
whip, and lands in the heavy curtains that cover one window.
The curtains immediately burst into flame.
The four Bad Men look in surprise toward the front entrance.
Indy is poised there, the whip in his right hand, a .45
automatic raised toward them in his left.
INDY
Hello.
Now everything begins to happen very fast -
The Mongolian had just come around the bar at the end opposite
the medallion. He dives back to crouch behind the end of the
bar, raising his submachine gun.
Belzig and the Second German dive behind tables near the
bar. The Nepalese is slower to leave Marion, he draws a Luger.
Indy's .45 barks and the Nepalese dies spinning against the
bar. Indy fires in the direction of the Mongolian.
Marion swings up over the top of her bar. Belzig fires at
her, but his bullets smash bottles behind the bar and thud
into the raven.
Marion flattens out on the floor behind the bar as bullets
hit above her. She reaches up, snatches the axe handle from
where Mahdlo left it, and begins crawling down the length of
the bar toward -
The Mongolian, who sticks his submachine gun out and fires
blindly in Indy's direction.
Indy is in a crouch behind a table, trying to get a shot at
someone. He doesn't notice in the din and confusion when the
door bursts open. An incredible, fearsome GIANT SHERPA, almost
seven feet tall, soars in and tackles Indy from behind. The
whip flies from Indy's hand as he and the Giant Sherpa roll
across the floor, upsetting furniture.
The Mongolian, seeing this, stands up confidently. Marion
rises behind him and bashes him over the head with the axe
handle. He goes down and out.
Fire has completely engulfed the curtains and is working
across the ceiling on decorative yak skin bunting. A burning
fragment drops to the top of the bar, which immediately lights
up, fueled by the spilled alcohol. Full whiskey bottles
explode like Molotov cocktails.
Rolling on the floor, Indy and the Giant Sherpa are fighting
for control of Indy's .45. Belzig sees this and shouts to
the Second Nazi, who is rising from cover with submachine
gun in hand.
BELZIG
Shoot them both!
SECOND NAZI
He's our man!
BELZIG
Do as I say!
Both the Giant Sherpa and Indy hear this. The Giant Sherpa
exchanges an alarmed look with Indy and together they swing
the .45 around toward the surprised Second Nazi. Two blasts
blow him away.
That done, Indy brings a brass spittoon down on the Giant
Sherpa's wrist and the .45 slides away. Indy jumps up and
kicks the Giant Sherpa, who barely seems to feel it. He grabs
Indy and flips him effortlessly onto a table.
Belzig now has a clear shot at Indy. He raises his luger.
Marion, at the end of the bar, finally gets the hand of the
Mongolian's submachine gun. It roars to life in the general
direction of the ceiling.
Belzig runs for cover as Marion gets control of the gun and
levels it. Belzig dives around the end of the bar opposite
Marion. When he has set himself, he peeks up over the edge
of the scorched bar. The alcohol fire has moved down the bar
and now, much to Belzig's surprise, he finds himself staring
at the fire-blackened sun-shaped medallion!
His eyes widen. He cannot believe his good fortune. Without
hesitation he picks up the metal medallion, palming it.
Immediately there is a sickening searing sound and Belzig's
expression changes from joy to agony. He screams in pain and
tries to shake the red-hot medallion from his skin. Marion
opens up and the bar starts to splinter in front of Belzig.
The medallion comes free of Belzig's hand and rolls across
the floor.
Belzig has had enough. In excruciating pain, he turns, sees
a window, runs and dives through the glass.
An exhausted Indy uses his whole body to upend the Giant
Sherpa, who lands hard on his back. They are surrounded by
flames.
EXT. "THE RAVEN" - SNOW BANK - NIGHT
Belzig has his burned hand stuck deep in the snow. Now he
withdraws it, steaming, and scurries off into the night like
a wounded animal.
INT. "THE RAVEN" - NIGHT
Marion throws down the empty submachine gun and moves through
the flames to the center of the bar where she left the box
with the five grand. She finds the remains of the box and
its contents: a shapeless pile of ash and charred wood.
MARION
Unbelievable!
At the end of the bar, the Mongolian has come back to life.
He shakes out his head, then reaches inside his coat and
pulls out a Mauser pistol.
Indy smashes a chair over the head of the Giant Sherpa and
the huge creature goes down.
The Mongolian points his Mauser through the smoke and flame
at Indy. Suddenly, the Mongolian is shot dead.
Marion stands beneath her stuffed raven with the Baretta.
Indy moves quickly through the flames, his eyes scanning the
floor. He picks up his bullwhip and his crumpled felt hat.
He peers through the smoke till he spots Marion moving among
the burning furniture.
INDY
Let's get out of here!
MARION
Not without that piece you want!
INDY
It's here?
Marion nods, kicks aside a burning chair. Another burning
beam falls from the roof. Indy pulls Marion close to him
protectively.
INDY
Forget it! I want you out of here.
Now!
He begins dragging her out.
MARION
(pointing)
There!
She breaks away from him, darts back and picks the hot
medallion up in the loose cloth of her blouse.
INDY
Let's go!
MARION
(looking around)
You burned down my place!
INDY
(figuratively)
I owe you plenty!
MARION
(literally)
You owe me plenty!
INDY
(smiles)
You're something!
MARION
I am something. And I'll tell you
exactly what -
She holds up the medallion possessively.
MARION
I'm your partner!
EXT. CAIRO - VARIOUS SHOTS - DAY
First we see the sprawl, the soaring minarets, the ancient
skyline. Then we're closer, in the narrow, exotic streets,
teeming with life: fierce-looking men in tattered galabiyas,
black-gowned women with veiled faces, ragged, barefoot
children.
INT. DINING ROOM - SALLAH'S HOUSE (OLD CAIRO)
Indy and Marion have been welcomed like family into the
crowded home of SALLAH, his wife FAYAH, and their NINE
CHILDREN (ages 4 - 18). Fayah, a huge, imposing woman,
appears, at first glance, to be the power in the house.
Sallah, a small, cheerful, energetic fellow in his forties
defers to his wife in all matters of little importance.
Suddenly the general liveliness at the children's table
escalates into pandemonium, attracting the attention of the
adults.
FAYAH
Silence!
(there is silence)
Why do you forget yourselves?
The gaggle of grinning off-spring parts to reveal in their
midst - a MONKEY. It is munching some flat Arab bread.
FAYAH
What is this? Who brought this animal
in?
All the children chatter their innocence at once. The Monkey
chatters too; it's an entertainer. The Monkey jumps from the
children's table to the adults' and struts slowly up toward
Marion, who thinks it's the cutest thing she ever saw. When
it reaches her, it takes off its turban and does a deep,
grand bow to her. She is delighted and takes the Monkey into
her arms. The Monkey kisses her cheek. The children laugh.
MARION
Why, thank you. I like you too.
FAYAH
Then it shall be welcome in our house.
MARION
Oh, no! You don't have to have it
around if you don't want it -
SALLAH
(cheerfully)
All of Allah's creatures are welcome
here. You please us by letting us
please you.
EXT. COURTYARD - SALLAH'S HOUSE - NIGHT
Indy and Sallah sit in the small, protected courtyard. Sallah
holds the two sections of the headpiece, the medallion and
the base, and has for the first time fitted them together.
They fit perfectly and complete the headpiece. He peruses
the markings on the headpiece quizzically. Indy is cleaning
and loading a .45 automatic.
INDY
I knew the Germans would hire you,
Sallah. They couldn't have an
excavation in the desert without the
best digger in Egypt.
SALLAH
All Arabs look alike to them, Indy.
INDY
Tell me about the map room at Tanis.
SALLAH
We found it three days ago. I broke
through myself.
INDY
Those Nazis are moving awfully fast.
SALLAH
The Frenchman is helping them.
Indy reacts.
INDY
Belloq. So he got away from the
Indians. This is going to be more
interesting that I thought.
SALLAH
I'm afraid this has put the Germans
close to finding the Well of the
Souls.
INDY
(indicates the
headpiece)
Even Belloq won't be able to find it
without that. Can you make anything
of those markings? They're nothing
I'm familiar with.
SALLAH
(shakes his head "no")
But I know someone who might. You
can go to see him tomorrow.
(a worried expression)
Indy... something bothers me.
INDY
What is it, my friend?
Sallah finds it hard to say. When he finally speaks, his
words are accompanied by a strange, eerie, foreboding rush
of wind through the courtyard. Just a coincidence we might
suppose.
SALLAH
It is the Ark. If it is there, at
Tanis... It is not something man was
meant to disturb... Death has always
surrounded it. It is not of this
earth.
The wind dies down. Indy shakes off a chill and stares
thoughtfully at his friend.
EXT. HEAVILY TRAFFICKED CAIRO STREET - DAY
Indy and Marion are briskly walking along one of Cairo's
busy bazaar streets. Vendors with fine cloth, pottery,
baskets, jewelry, etc line the street. Marion has the Monkey
from Sallah's house on her shoulder.
INDY
Do you really need that monkey?
MARION
I'm surprised at you, Indy. Talking
that way about our baby. He's got
your looks, too.
INDY
And your brains.
As Indy and Marion turn a corner, the Monkey seems to notice
something and immediately jumps from Marion's shoulder and
hurries off at a frantic pace down the street.
MARION
(looking disappointed)
Hey! Hey!... where're you going?
INDY
(dragging Marion on)
He'll be OK. Come on. Come on.
EXT. ANOTHER CAIRO STREET - DAY
The Monkey is seen running around another corner and jumps
into the waiting arms of MONKEY MAN, who appears to be like
a beggar with a dirty turban and an eye patch. Monkey Man
immediately hurries down the street and passes into a
building. In the building are two GERMAN AGENTS. Monkey Man
and the Monkey both give the Heil Hitler salute and engage
in quick talk.
Monkey Man quickly leaves the two German Agents and gets
back to the street. He is obviously shadowing Indy and Marion.
Indy and Marion are just now passing by the Monkey Man ducks
back behind some baskets.
EXT. ANOTHER BUSY CAIRO STREET - DAY
Indy and Marion are passing under a balcony where a lone
GERMAN AGENT stands watch. After they pass, the Agent nods
to some BAD ARABS who are hiding in the shadows of the street.
In a moment, Indy and Marion pass by the break. Monkey Man
turns and looks up at a roof further down the alley. He waves
with his hand. Someone up there waves back.
EXT. A SMALL BAZAAR - DAY
Indy and Marion have reached a tiny square, made even more
cramped by its use as a small bazaar. They have started
working their way through the crowd when several Bad Arabs
and a German Agent begin to converge on them. Indy immediately
sees what's happening and pulls the bull whip from his jacket.
The first Bad Arab to reach them gets hit in the mouth by
the handle of the whip. Now all hell breaks loose, with Bad
Arabs, Innocent Shoppers, baskets of fruit and tables of
goods flying every which way in the constricted space.
INDY
(to Marion)
Run! Get out of here!
Indy catches a dagger-wielding Bad Arab around the legs with
the whip and flips him. Marion is reluctant to leave Indy.
INDY
Go, dammit! Go!
Marion goes. She runs off between two buildings. A Bad Arab
takes off after her. Monkey Man, now standing at the edge of
the square, points at Marion. The Monkey jumps off his
shoulder and follows Marion.
EXT. BETWEEN THE BUILDINGS - DAY
Marion runs along the narrow space and soon encounters a
five foot wall. She flops over it. The Bad Arab is right on
her heels. He reaches the wall and vaults over. On the other
side of the wall, the Bad Arab lands in a crouch, looks ahead
and doesn't see Marion. Immediately a heavy earthen pot
smashes over his head, putting him out. Marion steps from an
alcove and starts to run toward the street at the other end
of the walkway. Suddenly another Bad Arab and a new German
Agent appear in the street at that end. Before they can spot
her, Marion retreats to the alcove again. There is a huge
rattan basket sitting there. Marion climbs in and closes the
top above her.
The only witness: The Monkey, who is now perched on the fire
foot wall.
EXT. THE SMALL BAZAAR - DAY
Chaos. An entire booth of pots and pans collapses on a Bad
Arab and a German Agent as Indy whips away a support.
EXT. BETWEEN THE BUILDINGS - DAY
The chattering Monkey leads a German Agent and two Bad Arabs
to Marion's hiding place, gesturing maniacally.
EXT. THE SMALL BAZAAR - DAY
Indy ducks under the swinging blade of a huge Arabian sword
and kicks the Bad Arab Swordsman in the groin.
EXT. SIDE STREET - DAY
The German Agent leads the way as the two Bad Arabs carry
the huge basket above their heads. The basket top has been
fastened closed, but Marion is making a fuss inside. At the
place where the street cuts across the far side of the bazaar,
Marion is able to wedge the top open one inch and screams -
MARION
Indy-y-y-y!
EXT. THE SMALL BAZAAR - DAY
Indy has heard her. He looks across the square as the basket
and its escorts disappear beyond a building. One last Bad
Arab rises before him. Indy's whip flashes and the Bad Arab's
robe falls down to his ankles. Indy frantically pushes his
way through the panicked mass of humanity in the direction
the basket has gone.
EXT. THE FOOT CHASE - INTERCUTTING INDY AND THE MOVING
BASKET - DAY
The Bad Guys move the basket as fast as they can through
streets, alleys and passageways thick with people. Indy always
seems to round a corner just in time to catch a glimpse of
the basket before it disappears around a new corner. Indy
must fight a flow of humanity as powerful as an ocean riptide.
Finally, at the head of one particularly crowded alley, Indy
leaps up onto a wall for a clearer view. Whatever he sees
gives him an idea and he cuts between two buildings rather
than following the basket.
EXT. DESERTED ALLEY - DAY
Two Bad Arabs come running down the Alley with the basket
between them. Suddenly, Indy's whip flashes out sending both
Arabs and the basket tumbling. Indy steps into view, his .45
trained on the sprawled Arabs, and looks at the basket. The
top has come flying off and the contents have clattered onto
the cobblestone: inside is not Marion, but a load of
contraband pistols, rifles and ammo. Indy is advancing on
the trembling Bad Arabs with an ugly look when suddenly he
hears Marion scream around the corner.
EXT. DESERTED SQUARE - DAY
Indy rounds the corner and is immediately driven back by
machine gun fire. Taking cover, he gets quick, intermittent
glimpses of this scene: At the far corner of the large,
deserted square is a canvas-covered truck. Two Bad Arabs are
hurrying toward is with a large rattan basket between them,
Marion screaming inside. A German Agent is covering their
retreat with a machine gun from the cab of the truck. Indy
runs up to see the rattan basket being heaved into the back
of the truck.
EXT. BACK OF THE TRUCK - DAY
What Indy cannot see is that the basket lands among an ominous
load of German munitions, dynamite and firearms. The truck
immediately peels out.
EXT. DESERTED SQUARE - DAY
The German Agent has stopped firing in order to drive. He
floors it, aiming for a street at the corner of the square.
Indy uses the lull to take careful aim at the German Agent's
profile and fire off three careful shots. The German Agent
is hit, blasted dead against the steering wheel. The speeding
truck swerves, hits a wall, rolls over and explodes in an
enormous, multi-leveled eruption as its contents ignite.
Several surrounding buildings are leveled.
Indy, blown back across the square, looks on, astounded and
horror-stricken.
INDY
Marion.
INT. ARAB BAR - NIGHT
A dark, smoke-filled den on iniquity. The patrons, almost
all fearsome Arabs, sit in small shadowy groups around the
room. Indy stands at the bar finishing off a fifth of bourbon.
He is drunk. The ARAB BARTENDER places a new bottle of
expensive bourbon in front of him. Indy eyes is queerly.
ARAB BARTENDER
The gentleman in the corner sent it.
He would like you to join him.
INDY
(doesn't even look)
Too bad. I'm drinking alone.
The Arab Bartender does a take, looking at the three, tough
GERMAN HENCHMEN who have surrounded Indy from out of the
smoke, their hands stuffed in bulging trenchcoat pockets.
Indy notices them now with a bleary glance. He decides he's
in no shape to kill or be killed and moves with them across
the room, taking his bottle with him. The Arab patrons take
this in and mind their own business.
The occupant of the smoke-shrouded corner table becomes
visible only as Indy reaches there: it is Emile Belloq. He
is drinking wine.
INDY
Belloq.
BELLOQ
Good evening, Dr. Jones.
INDY
I ought to kill you right now.
BELLOQ
It was not I who brought the girl
into this dirty business.
Indy knows its true; that's what's tearing him up.
BELLOQ
Sit down, please, before you fall
down. We can behave as civilized
people. I'm afraid it will be your
last opportunity.
Indy sits, glancing at the German Henchmen, who settle nearby,
just out of earshot.
INDY
Not a very private place for a murder.
BELLOQ
(looking around)
These Arabs will not interfere in
the white man's business. They do
not care if we kill each other off.
(takes a sip of wine,
refers to it)
Terribly difficult finding a decent
vintage here. You were quite vigorous
in Shanghai. Unfortunately, our friend
the Wild Boar had taken the precaution
of making several copies of the piece.
Indy registers this as he takes a drink. Belloq watches him
with disdainful amusement.
BELLOQ
How odd that is should end this way
for us, after so many... stimulating
encounters. I almost regret it. Where
shall I find a new adversary so close
to my own level?
INDY
Try the local sewer.
BELLOQ
I know you despise me. We always
hate in others that which we most
fear in ourselves. And you and I are
very much alike.
INDY
Now you're getting nasty.
BELLOQ
We have always done the same kind of
work. Our methods have not differed
as much as you pretend. I am a shadowy
reflection of you. But it would have
taken only a nudge to make you the
same as me, to push you out of the
light.
There's a certain amount of truth to this; the recognition
of it flickers across Indy's bleary eyes. Belloq sees it
there.
BELLOQ
You know it to be true! How nice.
And how ironic the timing.
Belloq leans forward, eyes shining, voice suddenly different.
BELLOQ
Do you realize what the Ark is?
(very intense)
It's a transmitter. A radio for
talking to God! And now it is within
my grasp.
INDY
What about your boss, der Fuhrer? I
thought he was waiting to take
possession.
Belloq glances into the gloom at the German Henchmen.
BELLOQ
(quieter)
When the time is right. When I am
finished with it.
INDY
I hope your friends are patient.
Dangerous work, Belloq.
BELLOQ
Yes. Very. You may consider yourself
fortunate that your involvement
concludes here.
INDY
Tell me, did you get away with the
idol?
BELLOQ
(negative)
I was lucky to get away with my life.
The Hovitos proved quite narrow-minded
about the whole matter.
Indy takes a drink.
INDY
You know, if it's God you want to
talk to, maybe I can arrange it.
BELLOQ
(smiles)
You have not changed. But, please,
do not reach for your weapon until
you are ready to die.
The front door of the bar slams open and all nine of SALLAH'S
CHILDREN scamper in and over to a surprised Indy. Two of the
smallest hop into his lap.
LITTLE SON
Uncle Indy, we have been looking for
you.
LITTLE DAUGHTER
Come home now, Uncle. Hurry!
Suddenly the Arab patrons of the bar take an intense interest
in the situation, shifting their weapons.
INDY
Yes. Yes, I'll come now.
Indy stands up. The German Henchmen and poised. Belloq eyes
the Arab patrons and signals for the Henchmen to relax.
BELLOQ
Next time, Indiana Jones, it will
take more than children to save you.
The children usher Indy out.
INT. SALLAH'S TRUCK - IN FRONT OF ARAB BAR - NIGHT
Indy climbs into the cab of Sallah's truck with a smiling
Sallah as the children pile into the back. Sallah pulls out.
SALLAH
I thought we would find you there.
(indicating the kids)
Better than the United States Marines,
eh?
INDY
(nods)
Thanks you.
(grave)
Marion's dead.
SALLAH
Yes, I know. I am sorry.
(pause)
More reason than ever to beat the
bastards.
(he touches Indy)
Life goes on, Indy.
(indicates the kids
again)
There is the proof.
Indy looks back there, nods.
SALLAH
I have much to tell you, Indy.
INT. SALLAH'S HOUSE
Fayah brings in a tray of food and puts it on the table. The
bowl of dates is in one corner. As Fayah leaves the room,
the Monkey slips out of Sallah's lap and disappears under
the table. Indy leans over the food tray, his hand hovering
over the dates. But he chooses some cheese and bread instead.
INDY
And they made the calculation in the
map room?
SALLAH
(nods vigorously)
This morning. Belloq and the boss
German, Shliemann. When they came
out of the map room, we were given a
new spot in which to dig... out away
from the camp.
INDY
(resigned)
The Well of the Souls.
Sallah nods, moves to the food. He picks up a date, then
changes his mind and drops it, taking a bunch of grapes
instead. Indy picks up a chicken leg in one hand and a date
in the other, his mind distracted. Fayah enters the room
just in time to see Indy flip the date high into the air and
try to catch it in his mouth. It bounces off his chin and
falls to the floor. Indy looks sheepishly at Fayah. Fayah
picks up the fallen date and puts it in the dirty ash tray
she is now removing. Amir speaks in a slow, raspy voice
without looking up.
AMIR
Come. Look.
The two men go and huddle over the old man. The Monkey peeks
up over the edge of the table at the array of food. He picks
up a date and disappears below the table. Amir points to
some markings on the lower part of the headpiece.
AMIR
This is a warning... not to disturb
the Ark of the Covenant.
INDY
Just want I need.
The Monkey's paw comes up over the edge of the table and
grabs another date.
INDY
How 'bout the height of the staff?
Did Belloq get it off of there?
AMI