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duce87
Messaggi: 34
Iscritto il: 01 gen 1970, 01:00
Località: Predappio

Messaggio da duce87 » 01 gen 1970, 01:33

RAIDERS OF THE LOST ARK
<BR>
<BR>
<BR> Screenplay
<BR>
<BR> by
<BR>
<BR> LAWRENCE KASDAN
<BR>
<BR>
<BR> Story
<BR>
<BR> by
<BR>
<BR> GEORGE LUCAS
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR> REVISED THIRD DRAFT AUGUST 1979
<BR>
<BR>
<BR>
<BR> This screenplay is the property of
<BR> MEDWAY PRODUCTIONS, INC.
<BR> P.O. BOX 8669
<BR> Universal City, CA. 91608 (213) 760-3800
<BR>
<BR> ----------------------------------------------------
<BR>
<BR> FADE IN:
<BR>
<BR>1 EXT. PERU - HIGH JUNGLE - DAY 1
<BR>
<BR> The dense, lush rain forests of the eastern slopes of
<BR> the Andes, the place known as \"The Eyebrow of the Jun-
<BR> gle.\" Ragged, jutting canyon walls are half-hidden by
<BR> the thick mists.
<BR>
<BR> The MAIN TITLE is followed by this:
<BR>
<BR> PERU
<BR> 1936
<BR>
<BR> A narrow trail across the green face of the canyon. A
<BR> group of men make their way along it. At the head of
<BR> the party is an American, INDIANA JONES. He wears a
<BR> short leather jacket, a flapped holster, and a brimmed
<BR> felt hat with a weird feather stuck in the band. Behind
<BR> him come two Spanish Peruvians, SATIPO and BARRANCA.
<BR> Bringing up the rear are five Yagua INDIANS. They act
<BR> as porters and are wrangling the two heavily-packed
<BR> llamas. The Indians become increasingly nervous. They
<BR> speak to each other in bursts of Quechua. The American,
<BR> who is known to his friends as Indy, glances back at them.
<BR>
<BR> BARRANCA
<BR> (irritated)
<BR> They\'re talking about the Curse
<BR> again!
<BR>
<BR> He turns and yells at the Indians in Quechua, his anger
<BR> giving an indication of his own fears. The party reaches
<BR> a break in the canyon wall and takes the trail through it.
<BR>
<BR> When they emerge, their destination is revealed to them
<BR> in the distance. Beyond a thick stand of trees is the
<BR> vegetation-enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS,
<BR> 2000 years old.
<BR>
<BR> The entire party is struck by the sight. The Indians,
<BR> terrified now, chatter away. Suddenly the three at the
<BR> back turn and run, dropping their packs as they go. Bar-
<BR> ranca yells at the fleeing Indians and pulls his pistol
<BR> out. He starts to raise his arm to aim but Indy restrains
<BR> it in a muscular grip.
<BR>
<BR> INDY
<BR> No.
<BR>
<BR> Barranca looks evilly at Indy\'s hand upon him. Indy re-
<BR> leases him and smiles in a friendly way.
<BR>
<BR> INDY
<BR> We don\'t need them.
<BR>
<BR> Satipo watches this confrontation with some concern.
<BR>
<BR> BARRANCA
<BR> I do not carry supplies.
<BR>
<BR> INDY
<BR> We\'ll leave them. Once we\'ve got
<BR> it, we\'ll be able to reach the plane
<BR> by dusk.
<BR>
<BR> He turns back to the trail. Satipo gets the two remaining
<BR> Indians moving behind Indy. Satipo and Barranca then have
<BR> a fast, silent communication: Barranca indicates his de-
<BR> sire to slit Indy\'s throat; Satipo gives him a look that
<BR> says \"Be patient, you idiot.\"
<BR>
<BR>
<BR>2 THE APPROACH TO THE TEMPLE 2
<BR>
<BR> The party fans out to fight their way through the en-
<BR> twined trees that guard the temple. Visibility is cut to
<BR> five feet in the heavy mist. Satipo extracts a short,
<BR> native dart from a tree and examines the point gingerly.
<BR>
<BR> SATIPO
<BR> (showing Indy)
<BR> The Hovitos are near. The poison
<BR> is still fresh...three days. They\'re
<BR> following us, I tell you.
<BR>
<BR> INDY
<BR> If they knew we were here, they would
<BR> have killed us already.
<BR>
<BR> The two Indians jabber in Quechua, near hysteria. Bar-
<BR> ranca is sweating profusely, eyes darting. He yells at
<BR> the Indians in Quechua to \"shut up.\"
<BR>
<BR> In the undergrowth, there is slithering movement.
<BR>
<BR> Indian #1 draws aside a branch and is faced with a hor-
<BR> rific stone sculpture of a Chachapoyan demon. The Indian
<BR> is so frightened no sound comes out when he screams. He
<BR> turns and runs silently away.
<BR>
<BR> Indian #2 calls to his friend. Getting no response, he
<BR> steps in that direction. A huge macaw, flushed from the
<BR> undergrowth, screams and flies away. Indian #2 does ex-
<BR> actly the same thing, never to be seen again.
<BR>
<BR> Indy, Satipo and Barranca, just clearing the trees, look
<BR> back in that direction. They all turn to face the Temple.
<BR>
<BR> It is dark and awesome. Vegetation curls from every
<BR> crevice, over each elaborate frieze. The entrance--
<BR> round, open and black--has been designed to look like
<BR> open jaws.
<BR>
<BR> INDY
<BR> So this is where Forrestal cashed in.
<BR>
<BR> SATIPO
<BR> A friend of yours?
<BR>
<BR> INDY
<BR> Competitor. He was good, very good.
<BR>
<BR> BARRANCA
<BR> (nervous)
<BR> No one has ever come out of there alive.
<BR> Why should we put our faith in you?
<BR>
<BR> Indy takes the weird feather from the band of his hat.
<BR> From around its point, he slips a tightly rolled piece
<BR> of parchment. Barranca and Satipo exchange a quick \"So
<BR> that\'s where it was!\" look. They all kneel as Indy
<BR> spreads out the parchment. On it is one-half of a crude
<BR> floorplan of the Temple.
<BR>
<BR> INDY
<BR> No one ever had what we have...
<BR> partners.
<BR>
<BR> Indy fixes them with an expectant stare. Satipo produces
<BR> a similar, but folded, piece of parchment. He lays it--
<BR> the other half of the floorplan--next to Indy\'s. They
<BR> all regard it for a moment, then Indy stands and walks
<BR> toward the Temple. Barranca\'s eyes are shining as they
<BR> dart between the floorplan and Satipo.
<BR>
<BR> INDY
<BR> (back turned)
<BR> Assuming that pillar there marks
<BR> the corner and...
<BR>
<BR> Barranca is suddenly on his feet, quietly drawing his pis-
<BR> tol. He raises it toward Indy as Satipo realizes with
<BR> alarm what he\'s doing. Too late. Indy\'s head turns and
<BR> he sees Barranca.
<BR>
<BR> Indy\'s next move is amazing, graceful and fast, yet
<BR> totally unhurried. His right hand slides up under the back
<BR> of his leather jacket and emerges grasping the handle of
<BR> a neatly curled bullwhip. With the same fluid move that
<BR> brings Indy\'s body around to face the Peruvian, the whip
<BR> uncoils to its full ten foot length and flashes out.
<BR>
<BR> The fall of the whip (the unplaited strip at the end of
<BR> the lash) wraps itself around Barranca\'s hand and pistol.
<BR> He could not drop the gun now if he tried.
<BR>
<BR> Indy gives the whip a short pull and Barranca\'s arm in
<BR> jerked down, where it involuntarily discharges the gun
<BR> into the dirt. Barranca is amazed, but feels some slack
<BR> in the whip and immediately raises the gun toward Indy
<BR> again, cocking it with his free hand.
<BR>
<BR> Indy\'s face goes hard. And sad.
<BR>
<BR> Indy sweeps his arm in a wide arc. Barranca spins around,
<BR> enclosed in the whip, his gun hand stuck tight against
<BR> his body. Indy gives one more short jerk on the whip
<BR> handle and Barranca\'s gun fires. Barranca falls dead.
<BR>
<BR> Indy looks quickly at Satipo, who is shocked and fright-
<BR> ened. He raises his arms in supplication.
<BR>
<BR> SATIPO
<BR> I knew nothing! He was crazy!
<BR> Please!
<BR>
<BR> Indy looks him over, then nods. He frees the whip from
<BR> Barranca\'s body and picks up the man. His eyes sweep
<BR> the surrounding woods.
<BR>
<BR> INDY
<BR> Let\'s go.
<BR>
<BR>
<BR>3 INT. TEMPLE - INCLINED PASSAGE - DAY 3
<BR>
<BR> Indy and Satipo, carrying a torch, walk up the slightly
<BR> inclined, tubular passage from the main entrance. The
<BR> interior is wet and dark, hanging with plant life and
<BR> stalactites. Their echoing footsteps intermittently
<BR> overpower the sounds of loud dripping, whistling air
<BR> drafts and scampering claws.
<BR>
<BR>
<BR>4 HALL OF SHADOWS 4
<BR>
<BR> Indy leads the way down a twisting hallway, Satipo\'s
<BR> torch barely lighting his way from behind. Indy dis-
<BR> appears in a shadow and when he reappears a moment later
<BR> a huge black tarantula is crawling up the back of his
<BR> jacket. Indy doesn\'t notice and disappears into another
<BR> shadow, emerging with two more tarantulas on his back.
<BR>
<BR> Satipo sees them and makes a frightened grunting sound.
<BR> Indy looks at him, sees what he\'s pointing at and cas-
<BR> ually brushes all three spiders off with his rolled
<BR> whip, as he would a fly. Satipo pirouettes for an in-
<BR> spection and Indy flicks one off the Peruvian\'s back.
<BR>
<BR> Indy begins picking up little pocket-sized artifacts from
<BR> the niches and ledges of the Temple. He continues to
<BR> do this as the men penetrate the Temple. His collecting
<BR> is quick and expert, evaluating the pieces in an instant,
<BR> discarding some, stuffing others into his clothes, and
<BR> never stopping his forward progress.
<BR>
<BR>
<BR>5 CHAMBER OF LIGHT 5
<BR>
<BR> The men reach an arch in the hall. The small chamber
<BR> ahead, which interrupts the hall, is brightly lit by a
<BR> shaft of sunlight from high above. Indy stops, looks
<BR> it over.
<BR>
<BR> SATIPO
<BR> What\'s wrong? Are you lost?
<BR>
<BR> Indy picks up a stick and throws it through the shaft
<BR> of light. Giant spikes spring together from the sides
<BR> of the chamber with a ferocious CLANG! And impaled on
<BR> the spikes are the remains of a white man, half-fleshed,
<BR> half skeleton, in explorer-type garb. Indy reaches out
<BR> and takes hold of the man\'s carcass. As the spikes slowly
<BR> retract, Indy pulls it free and seats the remains gently
<BR> on the floor.
<BR>
<BR> INDY
<BR> Forrestal.
<BR>
<BR> SATIPO
<BR> (gulps)
<BR> We can go no further.
<BR>
<BR> INDY
<BR> Now, Satipo, we don\'t want to be
<BR> discouraged by every little thing.
<BR>
<BR> Indy steps sideways into the chamber. His back pressed
<BR> against the very points of the retracted spikes, he moves
<BR> along the edge of the light beam, and steps clear on the
<BR> other side. Satipo grimaces and begins sweating his way
<BR> through.
<BR>
<BR>
<BR>6 STAIRWAY 6
<BR>
<BR> Indy and Satipo come down stone stairs to a tight land-
<BR> ing. Framing the entry are a carefully strung network of
<BR> dead vines, each somehow hooked into the wall, narrowing
<BR> the opening even more.
<BR>
<BR> INDY
<BR> (taking torch)
<BR> Let me see that.
<BR>
<BR> He lowers the torch to the floor of the landing. The
<BR> landing is carpeted with human skeletons, one on top of
<BR> another, all squashed flat as cardboard. Satipo gasps.
<BR> Indy looks up at the ceiling of the landing, then steps
<BR> onto skeletons, which make a cracking noise under his feet.
<BR>
<BR> INDY
<BR> Try not to touch the vines.
<BR>
<BR>
<BR>7 FOYER OF THE SANCTUARY 7
<BR>
<BR> The men are in a high, straight hallway 50 feet long.
<BR> The door at the end is flooded with sunlight.
<BR>
<BR> SATIPO
<BR> Senor, I think we are very close.
<BR>
<BR> Indy stands still looking at the hall.
<BR>
<BR> SATIPO
<BR> (impatient)
<BR> Let us hurry. There is nothing
<BR> to fear here.
<BR>
<BR> INDY
<BR> That\'s what scares me.
<BR>
<BR> They begin walking down the hall side by side. Satipo
<BR> has inched a little ahead. Suddenly his lead foot comes
<BR> down and through the floor! As Satipo begins to pitch
<BR> forward, Indy grabs him by the belt and pulls him back.
<BR> They both look down at the \"floor.\"
<BR>
<BR> Indy swings his whip across the floor. Fifteen feet of
<BR> it cuts open beneath the lash, falling away to reveal
<BR> black pit as wide as the hall. The illusory floor was
<BR> made of dust-covered cobwebs. Satipo picks up a stone
<BR> and drops it down the pit. No sound. The two men ex-
<BR> change glances. Indy looks up at the high roof of the
<BR> hall. He swings the whip up around a support beam, tests
<BR> its strength with a pull and swings over the pit on the
<BR> whip. From the other side he swings the whip back to
<BR> Satipo, who throws Indy the torch. Satipo swings across.
<BR> When they are both standing on solid floor there is a
<BR> moment of quiet in which they hear, from far, far below--
<BR> SPLASH! Indy wedges the whip handle into the wall and
<BR> leaves it strung to the beam for quick retreat.
<BR>
<BR>
<BR>8 THE SANCTUARY 8
<BR>
<BR> A large, domed room. Ten evenly-spaced skylights send
<BR> their shafts of sunlight down to a unique tiled floor:
<BR> white and black tiles laid out in a lovely, intricate
<BR> pattern. Indy and Satipo stand at the door and look
<BR> across the wide room at the altar. There, in the supreme
<BR> hallowed spot, is a tiny jeweled figurine, Indy\'s real
<BR> objective.
<BR>
<BR> Two torches, many years old, are in holders by the door.
<BR> Indy takes one down and lights it. He gives the regular
<BR> torch to Satipo.
<BR>
<BR> SATIPO
<BR> There\'s plenty of light, amigo.
<BR>
<BR> Indy kneels and uses the unlit end of the torch to reach
<BR> out and tap a white tile. It is solid. He taps a black
<BR> tile. There is a whizzing sound and a tiny dark sticks
<BR> in the torch. Satipo points to the wall nearby: there is
<BR> a recessed hole there.
<BR>
<BR> SATIPO
<BR> From that hole!
<BR>
<BR> Indy nods, stands and looks around the sanctuary. The
<BR> entire room is honey-combed with the same kind of hole.
<BR> Satipo sees it too and is properly impressed.
<BR>
<BR> INDY
<BR> You wait here.
<BR>
<BR> SATIPO
<BR> If you insist, senor.
<BR>
<BR> Torch in hand, Indy begins his careful walk across the
<BR> sanctuary. Stepping only on the white tiles, he almost
<BR> appears to be doing a martial arts kata. Before each
<BR> big move he waves the torch in front of him head to toe,
<BR> looking at the flame. Halfway out, he sees something
<BR> on the floor and kneels to look at it.
<BR>
<BR> A dead bird lies on one of the white tiles. Its body is
<BR> riddled with little deadly darts. This has great signi-
<BR> ficance to Indy and he stands with even greater caution.
<BR> He waves the torch ahead of him and at waist height an
<BR> air current whips at the flame. Indy ducks under it and
<BR> leaves a burn mark on the white tile beneath it.
<BR>
<BR> Satipo watches, wide-eyed and mystified.
<BR>
<BR> Indy reaches the altar. The tiny idol looks both fierce
<BR> and beautiful. It rests on a pedestal of polished stone.
<BR> Indy looks the whole set-up over very carefully. From
<BR> his jacket he takes a small, canvas drawstring bag. He
<BR> begins filling it with dirt from around the case of the
<BR> altar. When he has created a weight that he thinks ap-
<BR> proximates the weight of the idol, he bounces it a couple
<BR> times in his palm concentrating. It\'s clear he wants to
<BR> replace the idol with the bag as smoothly as possible.
<BR> His hand seems ready to do that once, when he stops, takes
<BR> a breath and loosens his shoulder muscles. Now he sets
<BR> himself again. And makes the switch! The idol is now in
<BR> his hand, the bag on the pedestal. For a long moment it
<BR> sits there, then the polished stone beneath the bag drops
<BR> five inches. This sets off an AURAL CHAIN REACTION of
<BR> steadily increasing volume as some huge mysterious mechanism
<BR> rumbles into action deep in the temple.
<BR>
<BR> Indy spins and starts his kata back across the sanctuary
<BR> at four times the speed.
<BR>
<BR> Satipo\'s eyes widen in terror. He turns and runs.
<BR>
<BR>
<BR>9 THE RETREAT - INTERCUTTING INDY AND SATIPO 9
<BR>
<BR> The sanctuary has begun to rumble and shake in response
<BR> to the mysterious mechanism. Just as Indy goes out the
<BR> door, a rock shakes loose from the wall and rolls onto the
<BR> tiles floor. Immediately, a noisy torrent of poison darts
<BR> fills the room.
<BR>
<BR> IN THE FOYER, Satipo swings across the pit. He makes it
<BR> just as the whip comes undone from the beam, leaving Indy
<BR> without an escape. Satipo, extremely nervous, regards
<BR> the whip a moment then turns back to face Indy, who has
<BR> run up to the far side of the pit.
<BR>
<BR> SATIPO
<BR> No time to argue. Throw me the
<BR> idol, I throw you the whip.
<BR>
<BR> Indy hesitates, eyeing the rumbling walls.
<BR>
<BR> SATIPO
<BR> You have no choice! Hurry!
<BR>
<BR> Indy concurs with that assessment. He tosses the idol
<BR> across the pit to Satipo. Satipo stuffs it in the front
<BR> pocket of his jacket, gives Indy a look, then drops the
<BR> whip on the floor and runs.
<BR>
<BR> SATIPO
<BR> Adios, amigo!
<BR>
<BR> Indy grimaces. He had a feeling this might happen. He
<BR> looks around.
<BR>
<BR> AT THE VINED LANDING, Satipo flies through like a chubby
<BR> ballet dancer and takes the steps five at a time.
<BR>
<BR> IN THE FOYER, Indy runs in full stride to the edge of the
<BR> pit and broad jumps into space. He doesn\'t make it. His
<BR> body hits the far side of the pit and he begins to slide
<BR> out of view. Only wild clawing with his fingers at the
<BR> edge of the pit stops his descent. With just the tips
<BR> of his fingers over the edge, he begins pulling himself up.
<BR>
<BR> AT THE CHAMBER OF LIGHT, Satipo has slowed down. He begins
<BR> to edge carefully around the light shaft.
<BR>
<BR> AT THE VINED LANDING, Indy sails through sideways and rolls
<BR> to a stop at the bottom of the steps. His whip is grasped
<BR> in his hand. As he raises himself, he hears, from above,
<BR> the giant spikes of the Chamber of Light CLANG! and an
<BR> abrupt, sickening rendition of SATIPO\'S LAST SCREAM. Indy
<BR> runs up the steps. The rumbling sound grows louder.
<BR>
<BR> AT THE CHAMBER OF LIGHT, Indy slides to a stop. The
<BR> spikes have retracted, taking Satipo\'s body to one side.
<BR> Indy edges into the chamber with his back to the shaft
<BR> of light. Soon he is face to face with the dead Satipo;
<BR> spikes protrude from several vital spots in the Peruvian\'s
<BR> body. Indy removes the idol from Satipo\'s pocket and
<BR> moves quickly out the other side.
<BR>
<BR> INDY
<BR> Adios.
<BR>
<BR>
<BR>10 THE INCLINED PASSAGE 10
<BR>
<BR> Indy shoots out of a cut-off hallway and turns toward the
<BR> exit. The rumbling is very loud and now we see why:
<BR> right behind Indy a huge boulder comes roaring around a
<BR> corner of the passage, perfectly form-fitted to the passage-
<BR> way. It obliterates everything before it, sending the sta-
<BR> lactites shooting ahead like missles. Indy dashes for
<BR> the light of the exit. His hat flies off his head. Almost
<BR> immediately it is crushed by the boulder. Indy dives out
<BR> the end of the passage as the boulder slams to a perfect
<BR> fit at the entrance, sealing the Temple.
<BR>
<BR>
<BR>11 EXT. FRONT OF THE TEMPLE - DAY 11
<BR>
<BR> Indy lies on the ground, gasping for air. A shadow falls
<BR> across him and he looks up.
<BR>
<BR> WHAT HE SEES. looming above him are three figures. Two
<BR> are HOVITOS WARRIORS in full battle paint and loin cloths.
<BR> They carry long blow guns. But the man in the center draws
<BR> Indy\'s attention. He is a tall, impressive white man,
<BR> dressed in full safari outfit including pith helmet. His
<BR> name is EMILE BELLOQ. His face is thin, powerful; his eyes
<BR> hypnotic; his smile charming, yet lethal. His heavily
<BR> French-accented speech is deep, mellifluous, wonderful.
<BR> Back beyond Belloq and his two escorts, thirty more Hovitos
<BR> Warriors hover at the edge of the trees.
<BR>
<BR> BELLOQ
<BR> Dr. Jones, you chose the wrong
<BR> friends. This time it will cost you.
<BR>
<BR> Belloq extends his hand. Indy looks at it, then pro-
<BR> duces the idol and hands it to Belloq. Belloq extends
<BR> his other hand, smiling. Indy hands over his gun. Belloq
<BR> sticks it in his jacket.
<BR>
<BR> BELLOQ
<BR> And you thought I\'d given up.
<BR>
<BR> INDY
<BR> (eyeing the Hovitos)
<BR> Too bad they don\'t know you like
<BR> I do, Belloq.
<BR>
<BR> BELLOQ
<BR> (smiles)
<BR> Yes, too bad. You could warn
<BR> them...if only you spoke Hovitos.
<BR>
<BR> With that, Belloq turns dramatically and holds the idol
<BR> high for all the Hovitos to see and says something in
<BR> Hovitos. There is a murmur of recognition and all the
<BR> Indians, including Belloq\'s escorts, prostrate themselves
<BR> upon the ground, heads down.
<BR>
<BR> Indy is immediately up and running toward the edge of the
<BR> clearing.
<BR>
<BR> BELLOQ
<BR> (in Hovitos)
<BR> Kill him!
<BR>
<BR> AT THE EDGE OF THE CLEARING, Indy disappears into the
<BR> foliage. An instant later, the leaves are peppered with
<BR> a rain of poison darts and spears.
<BR>
<BR>
<BR>12 EXT. THE JUNGLE - INDY\'S RUN - VARIOUS SHOTS - DAY 12
<BR>
<BR> Indy runs like hell through steadily falling terrain.
<BR> And always close behind, a swift gang of angry Hovitos.
<BR> Occasionally they get close enough to send a dart or
<BR> spear whizzing past Indy\'s head.
<BR>
<BR>
<BR>13 EXT. THE URUBAMBA RIVER - DUSK 13
<BR>
<BR> An amphibian plane sits in the water beneath a green cliff.
<BR> Sitting on the wing is JOCK, the British pilot. Indy
<BR> breaks out of some distant brush and runs along the path
<BR> at the top of the cliff.
<BR>
<BR> INDY
<BR> (yelling)
<BR> Get it going! Get it going!
<BR>
<BR> Jock hops in and fires up the plane\'s engines. Indy
<BR> reaches a spot on the cliff above the place, glances
<BR> back, them jumps into the river. He comes up, swims
<BR> to the plane and grabs a strut.
<BR>
<BR> INDY
<BR> GO!
<BR>
<BR> Jock starts the plane moving across the water as Indy
<BR> walks across the wing and falls into the passenger com-
<BR> partment.
<BR>
<BR>
<BR>14 OMIT OMIT 14
<BR>
<BR>
<BR>15 OMIT OMIT 15
<BR>
<BR>
<BR>16 INT. JOCK\'S PLANE - DUSK 16
<BR>
<BR> Indy relaxes and lies across the seat, a big smile on
<BR> his face. One hand drops to the floor of the cabin and
<BR> Indy jumps, hitting his head. On the floor of the cabin
<BR> is a huge boa constrictor. Indy tries to get his whole
<BR> body onto the seat. Jock sees what\'s happening.
<BR>
<BR> JOCK
<BR> Don\'t mind him. That\'s Reggie.
<BR> Wouldn\'t hurt a soul.
<BR>
<BR> INDY
<BR> I can\'t stand snakes.
<BR>
<BR> JOCK
<BR> The world\'s full of them, you know.
<BR>
<BR> INDY
<BR> I hate them.
<BR>
<BR> JOCK
<BR> Come on now, Sport, show a little
<BR> of the old backbone.
<BR>
<BR>
<BR>17 EXT. JOCK\'S PLANE - TWILIGHT 17
<BR>
<BR> It soars off over the dark jungle.
<BR>
<BR>
<BR>18 INT. INDY\'S OFFICE, SMALL EASTERN COLLEGE - DAY 18
<BR>
<BR> It\'s autumn and the pretty, New England campus out Indy\'s
<BR> window reflects it in dazzling color. A few weeks be-
<BR> fore the start of classes. Activity just picking up.
<BR> Some students about.
<BR>
<BR> Indy is at a bookcase near the window and he looks
<BR> quite different in this setting. His outfit is tweedy,
<BR> slightly rumpled in the professional style. Part of his
<BR> attention is focused in a book and he wears glasses to
<BR> see the fine print. The office is cramped, absolutely
<BR> innundated with books, maps, etchings and archeological
<BR> artifacts. In fact, the only neat spot in the room right
<BR> now is Indy\'s desk, which has been cleared off expressly
<BR> for the benefit of--
<BR>
<BR> MARCUS BRODY, the Curator of the National Museum in Wash-
<BR> ington, D.C. Brody is examining the small artifacts Indy
<BR> pocketed on his way into the Peruvian Temple. He occasion-
<BR> ally uses a jeweller\'s eyepiece to get a closer look. But
<BR> he is distracted, his concerns elsewhere, and it is this
<BR> that his old friend Indy senses from across the room.
<BR>
<BR> BRODY
<BR> Do you think the idol will ever
<BR> show up?
<BR>
<BR> INDY
<BR> I don\'t know. Just because Belloq
<BR> had it doesn\'t mean he kept it.
<BR>
<BR> Indy snaps the book closed and puts it on the shelf.
<BR> He takes his glasses off and focuses on Brody. At the
<BR> windowed door to his office, two pretty Coeds pause for
<BR> a moment, look in at their sexy Archeology professor,
<BR> giggle and disappear.
<BR>
<BR> INDY
<BR> Getting it away from those Indians
<BR> would be a neat trick.
<BR> (a hard look)
<BR> I hope they got him.
<BR>
<BR> A young male graduate student, Indy\'s TEACHING ASSISTANT,
<BR> taps on the door and then pushes his way in with an arm-
<BR> load of reference books. Indy helps him find a spot
<BR> for them.
<BR>
<BR> TEACHING ASSISTANT
<BR> I couldn\'t get the McNabe, Professor.
<BR> Someone\'s got it checked out \'til
<BR> next month when classes start.
<BR>
<BR> INDY
<BR> That\'s all right, Phil. Thanks
<BR> a lot.
<BR>
<BR> TEACHING ASSISTANT
<BR> (eager to please)
<BR> Will there be anything else?
<BR>
<BR> INDY
<BR> No. I\'ll see you Thursday.
<BR>
<BR> The Teaching Assistant leaves. Brody is scowling as
<BR> he examines the last of the artifacts.
<BR>
<BR> INDY
<BR> Hey, if you don\'t like them, I can
<BR> always return them.
<BR>
<BR> BRODY
<BR> No, they\'re beautiful. The Museum
<BR> will buy them as usual. No ques-
<BR> tions asked.
<BR>
<BR> INDY
<BR> Then what\'s wrong?
<BR>
<BR> BRODY
<BR> I brought along some people today.
<BR>
<BR> INDY
<BR> What kind of people?
<BR>
<BR> BRODY
<BR> Government.
<BR>
<BR> INDY
<BR> (concerned)
<BR> Government?
<BR>
<BR> BRODY
<BR> Don\'t worry, it\'s not about your
<BR> business.
<BR> (indicates the artifacts)
<BR> They\'re from the Army.
<BR>
<BR> INDY
<BR> I\'ve already served.
<BR>
<BR> BRODY
<BR> Army Intelligence. They\'re looking
<BR> for Abner.
<BR>
<BR>
<BR>19 INT. INDY\'S LECTURE HALL/CLASSROOM - DAY 19
<BR>
<BR> Indy\'s course--a combination of archeology and anthro-
<BR> pology--is taught in this amphitheater-type lecture hall.
<BR> His desk and lectern hold large reference books; black-
<BR> boards line the wall. Bones, maps, charts festoon the
<BR> walls.
<BR>
<BR> Indy leans against his desk talking with Brody and two
<BR> uniformed Army officers, COLONEL MUSGROVE and MAJOR
<BR> EATON, who are situated around the first seats in the
<BR> classroom.
<BR>
<BR> MUSGROVE
<BR> --But you did study under Professor
<BR> Ravenwood at the University of Chicago?
<BR>
<BR> INDY
<BR> (nods)
<BR> We haven\'t spoken in ten years.
<BR> I\'m afraid we had a bit of a fall-
<BR> ing out.
<BR>
<BR> EATON
<BR> You know nothing of his whereabouts?
<BR>
<BR> INDY
<BR> (negative)
<BR> Just rumors. Somewhere in Asia, last
<BR> I heard.
<BR>
<BR> Musgrove and Eaton exchange a look; they\'re disappointed.
<BR>
<BR> EATON
<BR> (to Musgrove)
<BR> Maybe Dr. Jones can make sense of it.
<BR>
<BR> Again the military men have a silent communication, de-
<BR> ciding what to reveal.
<BR>
<BR> MUSGROVE
<BR> Well...you must understand, Dr. Jones,
<BR> this is all strictly confidential.
<BR>
<BR> INDY
<BR> I understand.
<BR>
<BR> MUSGROVE
<BR> Yesterday, one of our European sec-
<BR> tions intercepted a Nazi communique
<BR> from Cairo to Berlin. We don\'t
<BR> quite know what to make of it.
<BR>
<BR> Musgrove takes a sheet from his briefcase.
<BR>
<BR> MUSGROVE
<BR> Here it is--\"Tanis development pro-
<BR> ceeding. Acquire headpiece, Staff
<BR> of Ra, General Tengtu Hok, Shanghai.
<BR> Locate Abner Ravenwood, U.S.\"
<BR>
<BR> Brody is excited. He looks at Indy.
<BR>
<BR> BRODY
<BR> Tanis. They must have discovered
<BR> the lost ruins.
<BR>
<BR> Indy contemplates this big news; he\'s impressed.
<BR>
<BR> INDY
<BR> (to himself)
<BR> Tanis. Ain\'t that somethin\'!
<BR>
<BR> EATON
<BR> Frankly, we\'re a little suspicious...
<BR> An American being mentioned so prom-
<BR> inently in a secret Nazi cable.
<BR>
<BR> INDY
<BR> Ah, Ravenwood\'s no Nazi.
<BR>
<BR> EATON
<BR> Then what do they want him for?
<BR>
<BR> INDY
<BR> They\'re looking for the headpiece
<BR> to the Staff of Ra.
<BR>
<BR> MUSGROVE
<BR> (indicates his sheet)
<BR> But it says here that\'s in China.
<BR>
<BR> INDY
<BR> Only half of it. Ravenwood had
<BR> the other half.
<BR>
<BR> EATON
<BR> What would the Nazis want with
<BR> this--this Staff of Ra?
<BR>
<BR> BRODY
<BR> I can tell you that. Over the last
<BR> two years the Nazis have had teams
<BR> of archeologists running around the
<BR> world looking for all kinds of re-
<BR> ligious artifacts.
<BR>
<BR> MUSGROVE
<BR> That\'s right. Hitler\'s a nut on
<BR> the subject. Crazy. He\'s obsessed
<BR> with the occult.
<BR>
<BR> EATON
<BR> What is this Staff of Ra, anyway?
<BR>
<BR> INDY
<BR> It all has to do with the Ark of
<BR> the Covenant.
<BR> (the Army guys look mystified)
<BR> The chest the Hebrews used to carry
<BR> around the Ten Commandments.
<BR>
<BR> Now it\'s the Army men who are impressed.
<BR>
<BR> INDY
<BR> An Egyptian pharaoh stole the Ark
<BR> from Jerusalem and took it back to
<BR> the city of Tanis. A short time
<BR> later, Tanis was consumed by the
<BR> desert in a sandstorm that lasted
<BR> a year. But before that, the Phar-
<BR> aoh had had the Ark hidden away in
<BR> a secret chamber called the Well of
<BR> the Souls. Which is where the Staff
<BR> of Ra comes in.
<BR>
<BR> Indy moves to the blackboard and makes a quick sketch
<BR> to give a rough idea of the system as he describes it.
<BR> (And we get a glimpse of what an interesting and enthu-
<BR> siastic teacher he must be)
<BR>
<BR> INDY
<BR> Now this was rather clever. The
<BR> Staff was really just a big stick--
<BR> oh, I don\'t know, say like this--
<BR> (he indicates about six feet)
<BR> --no one really knows for sure. Any-
<BR> way, it was capped by an elaborate
<BR> headpiece with a carving of the sun
<BR> at the top. What you had to do was
<BR> take the Staff to a special map room
<BR> in Tanis--it had the whole city laid
<BR> out in miniature on the floor. When
<BR> you placed the Staff in a certain
<BR> spot in this room, at a certain time
<BR> of day, the sun would shine through
<BR> a hole here in the headpiece and then
<BR> send a beam of light down here--to
<BR> the map--giving you the location of
<BR> the Well of the Souls...
<BR>
<BR> MUSGROVE
<BR> ...where the Ark of the Covenant
<BR> was kept.
<BR>
<BR> INDY
<BR> (nods)
<BR> Which is probably what the Nazis
<BR> are after.
<BR>
<BR> EATON
<BR> What\'s this Ark look like?
<BR>
<BR> INDY
<BR> Look like? Why, it\'s right here...
<BR>
<BR> Indy pulls a big format book from the stack on his lectern
<BR> and flips through the pages until he finds a large color
<BR> print. The other men gather to look.
<BR>
<BR> THE PRINT fills the screen.
<BR>
<BR> It shows a Biblical battle. The Israelite Army is van-
<BR> quishing an opposition force. At the forefront of the
<BR> Israelite ranks, two men carry the Ark of the Covenant,
<BR> a beautiful gold chest, crowned by two sculptured gold
<BR> angels. The men do not touch the Ark itself; rather
<BR> they carry it by use of two long wooden poles which pass
<BR> through rings in the corners of the Ark. The painting
<BR> is very dramatic, full of smoke, tumult and sinewy dying
<BR> men. But the most astounding thing in the picture is the
<BR> brilliant jet of white light and flame issuing from the
<BR> wings of the angels. It pierces deep into the ranks of
<BR> the retreating enemy, wreaking devastation and terror.
<BR>
<BR> EATON
<BR> Good God!
<BR>
<BR> INDY
<BR> Yes. That\'s what the Hebrews thought.
<BR>
<BR> MUSGROVE
<BR> What\'s that supposed to be coming
<BR> out of there?
<BR>
<BR> INDY
<BR> Who knows...lightning...fire...the
<BR> power of God.
<BR>
<BR> EATON
<BR> I\'m beginning to understand Hitler\'s
<BR> interest in this thing.
<BR>
<BR> INDY
<BR> Oh yes. The Bible tells of it level-
<BR> ing mountains and wasting entire re-
<BR> gions. Moses promised that when the
<BR> Ark was with you, \"your enemies will
<BR> be scattered and your foes fell be-
<BR> fore you.\"
<BR> (pause)
<BR> An army which carries the Ark before
<BR> it is invincible.
<BR>
<BR> Eaton and Musgrove exchange worried looks.
<BR>
<BR> INDY
<BR> Oh, there\'s one other thing that
<BR> Hitler undoubtably believes about
<BR> the Ark...
<BR> (a long pregnant pause)
<BR> It\'s said that the Lost Ark will be
<BR> recovered at the time of the coming
<BR> of the True Messiah.
<BR>
<BR> MUSGROVE
<BR> Dr. Jones, you\'ve been very helpful.
<BR> I hope we can call on you again if
<BR> we have questions.
<BR>
<BR> INDY
<BR> Most certainly.
<BR>
<BR> Brody and Indy exchange a look as they all shake and
<BR> Brody starts to leave with the Army men.
<BR>
<BR>
<BR>20 EXT. FRONT DOOR, INDY\'S HOUSE - NIGHT 20
<BR>
<BR> Indy\'s English Tudor, upper middle class home. Quite
<BR> toney; well beyond the financial reach of an honest
<BR> college professor. Marcus Brody has already rung the
<BR> bell. Indy opens the door. He is dressed in a tuxedo.
<BR>
<BR> BRODY
<BR> I\'ve got to talk to you.
<BR>
<BR> INDY
<BR> This isn\'t really a good time.
<BR>
<BR> BRODY
<BR> Indy, it\'s important.
<BR>
<BR> INDY
<BR> All right. Come on in.
<BR>
<BR>
<BR>21 INT. FOYER, INDY\'S HOUSE 21
<BR>
<BR> The lush tone continues here in Art Deco and shiny marble.
<BR> Indy motions Brody toward the study to one side.
<BR>
<BR> INDY
<BR> I\'ll be in in a minute.
<BR>
<BR> As Brody passes the entrance to the expansive living room,
<BR> he spots a beautiful, silk-gowned Harlow-type lounging on
<BR> the sofa in front of a roaring fire. She is sipping cham-
<BR> pagne.
<BR>
<BR>
<BR>22 INT. STUDY, INDY\'S HOUSE 22
<BR>
<BR> Brody enters the book-lined, dark-wooded study. He paces
<BR> for a moment before the fire which is dying in the fire-
<BR> place, then spots something and goes over to Indy\'s big
<BR> desk. The surface is covered with open books, monographs,
<BR> maps and drawings--all about the Ark of the Covenant.
<BR> Brody smiles; he knows his friend very well. Indy comes
<BR> in, closing the door behind him. Brody turns to him with
<BR> a triumphant expression.
<BR>
<BR> BRODY
<BR> They want you to go for it. And
<BR> they\'ll pay.
<BR>
<BR> INDY
<BR> (smiles)
<BR> Good work, Marcus. I had a feeling
<BR> this would happen. And, of course,
<BR> the Museum gets the Ark when we\'re
<BR> done.
<BR>
<BR> BRODY
<BR> (smiles)
<BR> Of course.
<BR>
<BR> Indy\'s manner is vigorous, aggressive.
<BR>
<BR> INDY
<BR> Okay, here\'s the way it\'s gonna be.
<BR> First, I\'ll high-tail it to Shanghai
<BR> and get the piece from General Hok.
<BR> Then I think I know where I can find
<BR> Ravenwood. If only I can get--
<BR>
<BR> BRODY
<BR> General Hok\'s a tough customer. They
<BR> don\'t call him the Wild Boar for nothing.
<BR> And he\'s tied in with the Japanese.
<BR>
<BR> INDY
<BR> I\'ll worry about that when the time
<BR> comes. My only hope is to find the
<BR> Well of the Souls before the Nazis do.
<BR>
<BR> WIPE TO:
<BR>
<BR>
<BR>23 EXT. IN THE AIR - DAY/NIGHT 23
<BR>
<BR> A Pan Am Clipper flies west over the Pacific.
<BR>
<BR> WIPE TO:
<BR>
<BR>
<BR>24 INT. KEHOE\'S CAR (SHANGHAI AIRPORT) - DAY 24
<BR>
<BR> Indy is barely into the front seat of a dilapidated
<BR> Ford as the driver, BUZZ KEHOE, is peeling out into
<BR> traffic. In the back seat is a Chinese named BANG
<BR> CHOW. Kehoe zigs crazily through traffic with only
<BR> his left hand as he reaches over to shake with Indy.
<BR>
<BR> KEHOE
<BR> Buzz Kehoe, Army Intelligence.
<BR> You\'ve met Bang Chow.
<BR>
<BR> INDY
<BR> What\'s the hurry?
<BR>
<BR> KEHOE
<BR> Some German agents got here two
<BR> hours ago. Luckily, Bang was able
<BR> to have them detained at Customs.
<BR> We\'ll have to hurry.
<BR>
<BR>
<BR>25 OMIT OMIT 25
<BR>
<BR>
<BR>26 OMIT OMIT 26
<BR>
<BR>
<BR>27 OMIT OMIT 27
<BR>
<BR>
<BR>28 OMIT OMIT 28
<BR>
<BR>
<BR>29 EXT. HOK\'S STREET - DAY 29
<BR>
<BR> Kehoe\'s car emerges from an alley. Down the block is
<BR> Tengtu Hok\'s modest, walled palace. Kehoe\'s car slows
<BR> a bit and Bang steps from the moving car with a small
<BR> black suitcase in his hand. While he heads down the
<BR> street toward Hok\'s place, Kehoe\'s car continues across
<BR> the street and into an alley on the other side.
<BR>
<BR>
<BR>30 EXT. HOK\'S STREET - IN FRONT OF PALACE - DAY 30
<BR>
<BR> A Mercedes limousine appears round a corner and squeals
<BR> to a stop at the front gate of the palace, which is manned
<BR> by a sturdy Chinese Gateman. There are three Germans in-
<BR> side, one the driver.
<BR>
<BR>
<BR>31 EXT. ALLEY BEHIND HOK\'S MUSEUM - DAY 31
<BR>
<BR> Kehoe, alone now, pushes a trash container casually into
<BR> position to hide a newly created hole in the rear wall of
<BR> Hok\'s Museum where several stone blocks have been removed.
<BR> He looks around and ambles back to the car.
<BR>
<BR>
<BR>32 INT. HOK\'S PALACE - ENTRY HALL 32
<BR>
<BR> The three Germans wait impatiently in a magnificent foyer.
<BR> A chime sounds and huge double doors open to reveal TENGTU
<BR> HOK, flanked by two uniformed Japanese Soldiers and a
<BR> roved Chinese Advisor. He wears a fantastic gold orna-
<BR> mental robe. Despite the majesty, however, nothing can
<BR> disguise the fact that Hok is basically a wild, fat bar-
<BR> barian; an animal. Hok and his escort group bow in what
<BR> is the beginning of a long welcoming ceremony. The Germans
<BR> exchange impatient glances but decide they should play it
<BR> as it comes. They bow.
<BR>
<BR>
<BR>33 INT. HOK\'S MUSEUM 33
<BR>
<BR> No person in sight. Instead, we see a magnificent dis-
<BR> play of ancient artifacts. Glass cases hold the velvet-
<BR> couched pieces at random spots on the shining marble
<BR> floor. We hear an odd sound. Near the floor on the rear
<BR> wall of the museum, a steel ventilation grate moves. A
<BR> hand slides it gently across the marble. Indy sticks his
<BR> head out and looks around.
<BR>
<BR>
<BR>34 INT. HOK\'S PALACE - TEA ROOM 34
<BR>
<BR> The three Germans are being served tea and exotic deli-
<BR> cacies. A pleased Tengtu Hok watches from a throne-cushion.
<BR> When the tray of tiny delicacies is presented to him, he
<BR> takes a massive handful, crushing them together on their
<BR> way to his smiling mouth.
<BR>
<BR>
<BR>35 INT. HOK\'S MUSEUM 35
<BR>
<BR> A huge golden gong, seven feet in diameter, is suspended
<BR> from the ceiling by a hook. An enormous hammer hangs
<BR> poised above it, from which emanate myraid tiny threads
<BR> which run up and across the ceiling, then down to the
<BR> various display cases. Indy looks up at the gong, then
<BR> continues his quick, quiet foray among the cases. Be-
<BR> yond him, a high window.
<BR>
<BR>
<BR>36 INT. HOK\'S PALACE - TEA ROOM 36
<BR>
<BR> Hok and his visitors stand to go. The Germans\' pleased
<BR> expressions make it clear they\'re finally on their way
<BR> to the museum.
<BR>
<BR>
<BR>37 INT. HOK\'S MUSEUM 37
<BR>
<BR> Indy arrives at his destination. The lovely, carved gold
<BR> section of the headpiece is nested on purple velvet in a
<BR> glass case. At the bottom of the piece is a round hollow
<BR> where the staff would fit. There is a grunting sound be-
<BR> hind Indy and he spins, already reaching for his revolver.
<BR>
<BR> A fierce Japanese Samurai is running at Indy full speed
<BR> down an aisle of display cases. His sword is raised over
<BR> his shoulder ready to cut Indy in half. He\'s six feet a-
<BR> way when Indy\'s gun levels and fires twice, blasting him
<BR> backwards. Indy is still looking over his gun when an-
<BR> other samurai sword comes down from the side and knocks
<BR> the pistol brutally out of Indy\'s grip; his hand avoids
<BR> amputation by a quarter of an inch.
<BR>
<BR> An amazed Indy backs away from the crossing aisle as the
<BR> Second Samurai steps in to face him, sword raised. Indy
<BR> backs away into an open space and his bullwhip appears
<BR> in his hand. He gives it one savage CRACK! to announce
<BR> its arrival and the Samurai slows down, eyeing it curiously.
<BR> The Samurai does not look unhappy about this confrontation.
<BR> How pure it is--The Sword versus The Whip.
<BR>
<BR>
<BR>38 EXT. HOK\'S PALACE - SECOND FLOOR WALKWAY - DAY 38
<BR>
<BR> Tengtu Hok and the Germans have obviously heard something.
<BR> They are hurrying along the walkway at the side of the
<BR> building, Hok in the lead. Up ahead is the foot bridge
<BR> which crosses from the palace to the museum entrance over
<BR> a moat.
<BR>
<BR>
<BR>39 EXT. STREET IN FRONT OF THE PALACE - DAY 39
<BR>
<BR> The Lovely Mercedes limousine blows up.
<BR>
<BR>
<BR>40 EXT. HOK\'S PALACE - SECOND FLOOR WALKWAY - DAY 40
<BR>
<BR> The Germans spin toward the blast. Drawing weapons, they
<BR> run back to investigate. Hok follows them, confused.
<BR>
<BR>
<BR>41 INT. HOK\'S MUSEUM 41
<BR>
<BR> Indy and the Samurai face each other. They\'re both breath-
<BR> ing hard from previous, no-contact passes at each other.
<BR> Now Indy begins swinging the whip over his head again. It
<BR> whizzes out toward the Samurai\'s face. The Samurai takes
<BR> two lightning-quick cuts at the leather, but misses. Indy
<BR> swings for the Samurai\'s feet; the Japanese jumps nimbly,
<BR> slashing at the whip. Indy does it again. The Samurai
<BR> hops it. Once more. The Samurai is concentrating on hop-
<BR> ping it.
<BR>
<BR> Indy sees it. The split second he wants. The whip flashes
<BR> up from the floor and wraps solidly and irrevocably around
<BR> the Samurai\'s neck. Indy gives it a murderous pull and
<BR> the Samurai is dead on his feet.
<BR>
<BR>
<BR>42 EXT. HOK\'S PALACE - SECOND FLOOR WALKWAY - DAY 42
<BR>
<BR> Hok and the three Germans are looking down at the flaming
<BR> remains of the Mercedes. A look of concern crosses Hok\'s
<BR> face. He turns and runs back toward his beloved museum.
<BR>
<BR>
<BR>43 INT. HOK\'S MUSEUM 43
<BR>
<BR> Indy is at the case containing the headpiece. He smashes
<BR> the glass with a samurai sword, reaches in and grabs the
<BR> piece. Immediately, behind him, the huge hammer falls
<BR> and the sound of the gong thunders through the museum.
<BR>
<BR>
<BR>44 EXT. HOK\'S PALACE - SECOND FLOOR WALKWAY - DAY 44
<BR>
<BR> At the sound of the gong, the running Hok skids to a halt
<BR> with a crazed expression on his face. He disappears for
<BR> two seconds in an alcove and emerges holding a big, black
<BR> Thompson Submachine Gun. He runs across the foot bridge
<BR> and is just barely over it when it blows up. Hok, safe,
<BR> looks behind him in amazement and then turns to the museum.
<BR>
<BR>
<BR>45 INT. HOK\'S MUSEUM 45
<BR>
<BR> The double doors at the entrance slam open to reveal Hok.
<BR> Indy is halfway along an unprotected wall back to his ven-
<BR> tilation entry route. Hok opens up on him, cutting off
<BR> his retreat. Indy jumps behind a marble column, which is
<BR> promptly blasted with machine gun fire.
<BR>
<BR> Indy looks above him, sees the giant disk of the gong.
<BR> Reaching up, pushing with tremendous effort, he maneuvers
<BR> it off the hook. It bounces down to the floor on its side,
<BR> chipping the marble with its monstrous weight. Indy stead-
<BR> ies it and then puts his whole body into rolling it across
<BR> the room toward the window. As it starts to roll, Indy
<BR> slips behind it and runs across the room with it.
<BR>
<BR> Hok can see the rolling gong. He opens up on it.
<BR> The vicious cacophony of machine gun fire is joined by
<BR> the musical reports of bullets hitting the gong and ri-
<BR> cocheting away. Very, very noisy.
<BR>
<BR> Behind the gong, Indy gauges his move. As the gong is
<BR> about to be stopped by a marble bench, Indy takes a long
<BR> stride onto the bench and dives through the glass of the
<BR> high window. Hok\'s bullets hit the wall.
<BR>
<BR>
<BR>46 EXT. ROOF - DAY 46
<BR>
<BR> Indy lands in a shower of glass on the jutting roof of
<BR> the museum\'s first floor. He rolls to a crouch and is
<BR> immediately being fired upon. The Germans, cut off from
<BR> the museum, are standing on the palace walkway firing at
<BR> him. Indy takes off fast for the rear of the museum.
<BR>
<BR>
<BR>47 EXT. ALLEY BEHIND MUSEUM - DAY 47
<BR>
<BR> Kehoe, craning to locate Indy, has the Ford rolling slowly
<BR> along the back of the museum. Bang scouts from the back
<BR> seat. Indy appears on the roof at a run, gauges the move-
<BR> ment of the car and jumps from the roof of the museum to
<BR> the roof of the sedan. Unfortunately, the roof of the
<BR> old car can\'t take it and Indy\'s legs knife right on
<BR> through to the interior, where he scares the hell out of
<BR> Kehoe.
<BR>
<BR>
<BR>48 INT. KEHOE\'S CAR - DAY 48
<BR>
<BR> Indy squirms his way down into the front seat.
<BR>
<BR> KEHOE
<BR> Jesus! Are you all right!
<BR>
<BR> INDY
<BR> (he\'s felt better)
<BR> Great. Got it.
<BR>
<BR> Kehoe guns it, throwing Indy back against the cushions.
<BR>
<BR> KEHOE
<BR> What now?
<BR>
<BR> INDY
<BR> I\'ve got to get to Nepal.
<BR>
<BR>
<BR>49 OMIT OMIT 49
<BR>
<BR> WIPE TO:
<BR>
<BR>
<BR>50 EXT. DC-3 IN THE AIR - DUSK 50
<BR>
<BR> The plane flies west into the sunset.
<BR>
<BR>
<BR>51 INT. DC-3 - NIGHT 51
<BR>
<BR> Under a meager seat light, Indy is pouring over a jour-
<BR> nal article by Abner Ravenwood and related map of Nepal.
<BR>
<BR> A few rows back, across the aisle, a trenchcoated Euro-
<BR> pean Spy eyes Indy.
<BR>
<BR> WIPE TO:
<BR>
<BR>
<BR>52. INT. \"THE RAVEN\" SALOON - PATAN, NEPAL - NIGHT 52
<BR>
<BR> A huge stuffed raven, wings spread wide, is mounted be-
<BR> hind the long bar in the noisy, crowded saloon. A lively
<BR> mix of patrons is represented in the late hour tableau:
<BR> Nepalese natives, fierce Sherpa mountain guides, sleazy
<BR> international smugglers and fugitives, and, of course,
<BR> mountain climbers from every corner of the earth. A tall
<BR> Nepalese, MAHDLO, is the bartender.
<BR>
<BR> In a corner near the fireplace trouble breaks out
<BR> suddenly between the groups at two neighboring tables.
<BR> Ferocious representatives from each table--one a wild-
<BR> looking SHERPA, the other a muscular Australian CLIMBER--
<BR> jump up to face each other. As the two contenders stand
<BR> poised for action, their respective supporters shift in
<BR> their places, fondling lethal ice axes and clubs.
<BR>
<BR> SHERPA
<BR> Gmoiska! Shurga rintoik!
<BR>
<BR> CLIMBER
<BR> Aye! That\'ll be your last word.
<BR>
<BR> The bar has quieted ominously and so we hear with startling
<BR> clarity when--a door behind the bar slams open with a huge
<BR> BANG! and some Presence, too small to be seen as it moves
<BR> through the forest of towering patrons, makes a beeline
<BR> for the troubled corner of the bar. A path clears for it.
<BR>
<BR> The Sherpa and the Climber are about to kill each other
<BR> when the Presence arrives directly between them: she is
<BR> MARION RAVENWOOD, twenty-five years old, beautiful, if a
<BR> bit hard-looking. At this moment, however, that look
<BR> does not hurt. She is not intimidated by the combatants;
<BR> she jabs accusatory fingers into their chests. She is
<BR> angry as hell. The patrons shrink under her gaze.
<BR>
<BR> MARION
<BR> That does it! I\'ve been patient
<BR> with you no-goods long enough. I\'m
<BR> not open at 2 o\'clock for myself,
<BR> you know. It\'s all for you. And
<BR> how do you repay me: Trouble and
<BR> noise and blood on my floor! I
<BR> won\'t have it. Everybody out! Out!
<BR> Out! We\'re closed. Closed! Do your
<BR> killing outside! And don\'t leave any
<BR> bodies on the porch!
<BR>
<BR> The place clears quickly. Stragglers and grumblers are
<BR> given special attention by Marion and Mahdlo, who has
<BR> come from behind the bar carrying a big axe handle.
<BR> Mahdlo herds the crows out the front door as Marion turns
<BR> and walks behind the bar.
<BR>
<BR> A scowl on her lovely face, she has just begun clearing
<BR> the bar of glasses when she notices one remaining Patron
<BR> huddled over a glass at the far end of the bar. Grimacing
<BR> in exasperation, she heads that way like a locomotive.
<BR>
<BR> MARION
<BR> Hey you, deaf one! I said out of
<BR> my place. I don\'t mean next Easter,
<BR> I mean now--
<BR>
<BR> She is almost on him when Indy looks up smiling. Marion
<BR> stops, stares, shocked.
<BR>
<BR> INDY
<BR> Hello, Marion.
<BR>
<BR> She hits him with a solid right to the jaw, knocking him
<BR> off the barstool on the floor. He rubs his jaw and
<BR> smiles up at her.
<BR>
<BR> INDY
<BR> Nice to see you, too.
<BR>
<BR> MARION
<BR> Get up and get out.
<BR>
<BR> INDY
<BR> (getting up)
<BR> Take it easy. I\'m looking for
<BR> your father.
<BR>
<BR> MARION
<BR> (bitterly)
<BR> Well you\'re two years too late.
<BR>
<BR> Indy\'s attitude changes instantly. This is sad news. He
<BR> is silent for a long time. Mahdlo comes in the front door
<BR> and hurries forward when he sees Indy with Marion. He
<BR> looks to her for guidance, but she stays him with a gesture.
<BR>
<BR> MARION
<BR> Go home, Mahdlo. I\'ll see you to-
<BR> morrow.
<BR>
<BR> Mahdlo is hesitant, but lays the axe handle on the bar and
<BR> goes out. Indy has been barely aware of him. Now he set-
<BR> tles again on the barstool. Marion has a vindictive look.
<BR> She\'ll let him stay, but she wants to inflict as much pain
<BR> as possible.
<BR>
<BR> INDY
<BR> What happened?
<BR>
<BR> MARION
<BR> Avalanche. Up there. He was dig-
<BR> ging. Wh
CCG

duce87
Messaggi: 34
Iscritto il: 01 gen 1970, 01:00
Località: Predappio

Messaggio da duce87 » 01 gen 1970, 01:33

MARION
<BR> Avalanche. Up there. He was dig-
<BR> ging. What else? He spent his
<BR> whole life digging. Dragging me all
<BR> over this rotten earth. For what?
<BR>
<BR> INDY
<BR> Did you find him?
<BR>
<BR> MARION
<BR> Hell no. He\'s buried where he was
<BR> working. Probably preserved real
<BR> good, too. In the snow.
<BR>
<BR> Suddenly the hardness cracks. She is on the verge of
<BR> tears and does not want him to see them. She turns away
<BR> and takes a whiskey bottle from the shelf, then turns
<BR> back to pour herself a drink.
<BR>
<BR> INDY
<BR> Not a bad way to go. Doing what
<BR> he loved.
<BR>
<BR> MARION
<BR> (vitriolic)
<BR> Don\'t give me that stuff! What
<BR> do you know?
<BR> (she takes a drinks)
<BR> I\'m the one that was left in a bad
<BR> way. He didn\'t have a penny. Guess
<BR> how I lived, Mister Jones. I worked
<BR> here. And I wasn\'t the bartender.
<BR> (another swallow)
<BR> Finally the guy that owned the joint
<BR> went crazy. Snow crazy. They took
<BR> him away screaming. As they dragged
<BR> him out, he said the place was all
<BR> mine for life.
<BR>
<BR> She looks around the saloon.
<BR>
<BR> MARION
<BR> Can you imagine a more evil curse?
<BR> (pause)
<BR> So far, it\'s working.
<BR>
<BR> INDY
<BR> Why not leave? Go back to the States.
<BR>
<BR> MARION
<BR> I\'ll go back. I\'ll get there. Not
<BR> that there\'s a soul there who knows
<BR> my name or cares. But I\'ll go. And
<BR> when I do, they\'ll know me. \'Cause
<BR> I\'m going to go back in style. With
<BR> money. A goddamn lady!
<BR>
<BR> INDY
<BR> Where you gonna get it?
<BR>
<BR> MARION
<BR> If I knew that, you think I\'d still
<BR> be running this dive?
<BR>
<BR> Indy looks at her, thinking. Under his gaze, she blushes,
<BR> for reasons only she understands. She looks into her
<BR> glass and, for a moment, she softens.
<BR>
<BR> MARION
<BR> I\'ll tell you something Indy. I\'ve
<BR> learned to hate you in the last ten
<BR> years. But somehow, no matter how
<BR> much I hated you, I always knew that
<BR> someday you\'d come through that door.
<BR> I never doubted that. Something made
<BR> it inevitable.
<BR> (hopefully)
<BR> Why are you here...now...tonight?
<BR>
<BR> Indy takes a long time to answer.
<BR>
<BR> INDY
<BR> I need one of the pieces your father
<BR> collected.
<BR>
<BR> Marion\'s eyes go icy. She swings at him again with her
<BR> right, but this time he catches her at the wrist. Then
<BR> he stops her left, which she has brought up to slap him.
<BR>
<BR> MARION
<BR> You son-of-a-bitch! You know what
<BR> you did to me, to my life? This
<BR> is your handiwork.
<BR>
<BR> INDY
<BR> I never meant to hurt you.
<BR>
<BR> MARION
<BR> I was a child!
<BR>
<BR> INDY
<BR> You knew what you were doing.
<BR>
<BR> MARION
<BR> I was in love.
<BR>
<BR> INDY
<BR> I guess that depends on your
<BR> definition.
<BR>
<BR> MARION
<BR> It was wrong. You knew it.
<BR>
<BR> Indy releases her arms.
<BR>
<BR> INDY
<BR> Look, I did what I did. I don\'t
<BR> expect you to be happy about it.
<BR> But maybe we can do each other
<BR> some good.
<BR>
<BR> MARION
<BR> Why start now?
<BR>
<BR> INDY
<BR> Shut up and listen for a second. I
<BR> want that piece your father had.
<BR> I\'ve got money.
<BR>
<BR> This stops her.
<BR>
<BR> MARION
<BR> How much?
<BR>
<BR> INDY
<BR> Enough to get you back to the States.
<BR> Where are his things?
<BR>
<BR> MARION
<BR> Gone. I sold it all. It was all
<BR> junk. The junk he wasted his life on.
<BR>
<BR> INDY
<BR> Everything?
<BR>
<BR> Marion nods.
<BR>
<BR> INDY
<BR> (giving up)
<BR> That\'s too bad.
<BR>
<BR> Indy feels tired, defeated. Marion is pleased.
<BR>
<BR> MARION
<BR> You look disappointed. I like
<BR> that. How\'s it feel?
<BR>
<BR> Indy has to smile at her glee.
<BR>
<BR> MARION
<BR> (nods at his empty glass)
<BR> What are you drinking?
<BR>
<BR> INDY
<BR> Seltzer.
<BR>
<BR> MARION
<BR> (refilling his glass)
<BR> Real man\'s drink. Me, I like scotch.
<BR> And I like bourbon. And vodka and
<BR> gin. I\'m not much for brandy. I\'m
<BR> off that.
<BR>
<BR> She pours herself another as Indy watches, amused.
<BR>
<BR> INDY
<BR> You\'re a tough broad now, aren\'t you?
<BR>
<BR> MARION
<BR> It\'s no act, pal. This ain\'t Sche-
<BR> nectady.
<BR>
<BR> INDY
<BR> I can only say I\'m sorry so many
<BR> times.
<BR>
<BR> Marion looks at him thoughtfully, takes a drink.
<BR>
<BR> MARION
<BR> You really have money? You don\'t
<BR> look rich.
<BR> (Indy nods)
<BR> I may be able to locate some of his
<BR> things. I know who\'s got them.
<BR> What do you want?
<BR>
<BR> INDY
<BR> A bronze piece, about this size. In
<BR> the shape of the sun. Probably
<BR> broken off at the bottom. Has a
<BR> little hole in it, off-center.
<BR> Does that sound familiar?
<BR>
<BR> Marion thinks, nods slowly.
<BR>
<BR> INDY
<BR> Do you know where it is?
<BR>
<BR> MARION
<BR> Maybe. How much?
<BR>
<BR> INDY
<BR> Three thousand. American.
<BR>
<BR> MARION
<BR> (negative)
<BR> That\'ll get me back, but not in
<BR> style. This doodad must be pretty
<BR> important.
<BR>
<BR> INDY
<BR> Maybe.
<BR>
<BR> A huge smile lights up Marion\'s face.
<BR>
<BR> MARION
<BR> I knew it would happen eventually.
<BR> I knew it. Something had to go my way.
<BR> (pours herself another drink)
<BR> I\'ve got to think this out. I\'m
<BR> used to bargaining with yaks.
<BR>
<BR> INDY
<BR> Okay, five thousand. That\'s all I
<BR> can give you now. I can get you more
<BR> when you land in the States.
<BR>
<BR> MARION
<BR> Your word, huh?
<BR> (Indy nods)
<BR> Just like you said you\'d be back last
<BR> time? That was your word too.
<BR>
<BR> INDY
<BR> I\'m back, aren\'t I?
<BR>
<BR> Marion sneers and they smile together.
<BR>
<BR> INDY
<BR> You can trust me.
<BR>
<BR> MARION
<BR> Come back tomorrow.
<BR>
<BR> INDY
<BR> Why?
<BR>
<BR> MARION
<BR> Because I said so, that\'s why. It\'s
<BR> about time I called the shots in this
<BR> relationship.
<BR>
<BR> Indy nods, gets up to go.
<BR>
<BR> MARION
<BR> Wait a minute. Leave the five thou-
<BR> sand here.
<BR> (Indy hesitates)
<BR> You want trust, give some. I want to
<BR> smell your money.
<BR>
<BR> Indy thinks about this a moment, then reaches inside his
<BR> shirt and pulls cash from a money belt. He lays five grand
<BR> on the bar.
<BR>
<BR> INDY
<BR> I trust you.
<BR>
<BR> MARION
<BR> You\'re an idiot.
<BR>
<BR> INDY
<BR> I\'ve heard that.
<BR>
<BR> Indy starts for the door. Marion takes another drink.
<BR> She is getting high.
<BR>
<BR> MARION
<BR> Hold it. Come here.
<BR>
<BR> INDY
<BR> (moving back)
<BR> Bossy, aren\'t you?
<BR>
<BR> MARION
<BR> That\'s right. Give me a kiss.
<BR>
<BR> Indy looks into her eyes, then leans over the bar and
<BR> kisses her deeply. When the kiss ends, their faces are
<BR> very close. Marion is flushed. She liked it and would
<BR> like more. She raises her glass between them to disci-
<BR> pline herself.
<BR>
<BR> MARION
<BR> Get out of my place.
<BR>
<BR> Indy smiles and walks to the front door. Then, without
<BR> looking back--
<BR>
<BR> INDY
<BR> Tomorrow.
<BR>
<BR> He\'s gone. Marion stares after him, thinking. She takes
<BR> a drink. Then slowly, her hand comes up to loose the
<BR> scarf that is draped around her throat. It falls away,
<BR> revealing her graceful neck above the dipping top of her
<BR> blouse. Hanging there on a gold chain against her white
<BR> skin is a sun-shaped golden medallion. The bottom looks
<BR> broken off. Marion lifts the medallion so she can see it
<BR> in her hand, then looks thoughtfully after Indy.
<BR>
<BR>
<BR>53 EXT. STREETS OUTSIDE \"THE RAVEN\" - NIGHT 53
<BR>
<BR> Indy sits thinking at the wheel of an old car. Finally,
<BR> he puts the car in gear and drives away.
<BR>
<BR> Across the street, the shadow in a doorway comes to life.
<BR> A dark form steps out to look at Indy\'s departing car;
<BR> it is the European Spy from the DC-3. He hurries off
<BR> in the opposite direction.
<BR>
<BR> DISSOLVE TO:
<BR>
<BR>
<BR>54 INT. \"THE RAVEN\" - NIGHT 54
<BR>
<BR> Marion stands before the fire that is shrinking in the
<BR> fireplace. She jabs at it abstractedly with a poker,
<BR> thinking. Suddenly tears well up in her eyes. She lets
<BR> the poker slip from her hand, wipes away the tears. She
<BR> walks across the room to the end of the bar, still clut-
<BR> tered with bottles and glasses, and stops at the pile of
<BR> American money Indy has left. She takes the chain from
<BR> around her neck and lets the medallion slide off it into
<BR> her hand. She places it on the bar next to the pile of
<BR> money, thinking. Then, having reached some decision, she
<BR> picks up the pile of bills, walks up the back of the bar
<BR> and pulls a small wooden box from under the bar. She flips
<BR> open the top, puts the cash inside and closes the top.
<BR> She leaves the box on the bar and starts back toward
<BR> the medallion. The front door of the saloon bursts
<BR> open and Four Bad Men come in. Marion, halfway between
<BR> the valuable possessions and not wishing to draw
<BR> attention to either, stops where she is.
<BR>
<BR> The Four Bad Men who advance on her are:
<BR>
<BR> 1.) the obvious leader, a short, vile, sadistic German
<BR> in spectacles by the name of BELZIG.
<BR> 2.) a trenchcoated SECOND NAZI.
<BR> 3.) a ratty-looking NEPALESE and
<BR> 4.) a mean MONGOLIAN. The second NAZI and the MONGOLIAN
<BR> both carry submachine guns.
<BR>
<BR> BELZIG
<BR> Good evening, Fraulein.
<BR>
<BR> MARION
<BR> The bar\'s closed.
<BR>
<BR> BELZIG
<BR> We are not thirsty.
<BR>
<BR> The Mongolian and the Nepalese poke around, checking
<BR> to make sure there\'s no one else there.
<BR>
<BR> Down at the end of the bar, the medallion lies partially
<BR> hidden by surrounding glasses and bottles. The Second
<BR> Nazi stops very near it, but turns his back to it to face
<BR> Belzig and Marion.
<BR>
<BR> MARION
<BR> What do you want?
<BR>
<BR> BELZIG
<BR> The same thing your friend Dr. Jones
<BR> wanted. Surely he told you there would
<BR> be other interested parties.
<BR>
<BR> Marion shakes her head.
<BR>
<BR> BELZIG
<BR> Ah, the man is nefarious. I hope
<BR> for your sake he has not yet acquired
<BR> it.
<BR>
<BR> MARION
<BR> Why, are you willing to offer more?
<BR>
<BR> BELZIG
<BR> Almost certainly. Do you still have it?
<BR>
<BR> MARION
<BR> No. But I know where it is.
<BR>
<BR> Belzig\'s smile fades at this news. He\'s not a patient sort.
<BR> Marion is chilled by the look. She turns and moves to the
<BR> shelf of bottles behind her, reaching high for one, very
<BR> near the large stuffed raven. Her hand lingers there a
<BR> moment and we see--
<BR>
<BR> From an angle behind the stuffed raven, that the left wing
<BR> spread hides a Baretta automatic pistol. Marion\'s hand is
<BR> very near it, but withdraws with only a whiskey bottle as
<BR> the Mongolian walks toward her behind the bar.
<BR>
<BR> Marion opens the bottle before Belzig, who watches her
<BR> intently.
<BR>
<BR> MARION
<BR> How \'bout a drink for you and your
<BR> men?
<BR>
<BR> The Second Nazi lights up at this suggestion. Belzig gives
<BR> him a withering look.
<BR>
<BR> BELZIG
<BR> We will stick to the business at hand,
<BR> Fraulein.
<BR>
<BR> MARION
<BR> (tough)
<BR> Fine. Why don\'t you come back to-
<BR> morrow when Jones is here and we\'ll
<BR> have an auction?
<BR>
<BR> Belzig gives her a cold look then turns and walks over to-
<BR> ward the fireplace. As soon as his back is turned, the
<BR> Second Nazi grabs the nearest whiskey bottle and takes a
<BR> quick pull. In so doing, he leaves the medallion completely
<BR> exposed. Marion is aware of this as she looks at him. But
<BR> he quickly puts the bottle down again, obscuring the medal-
<BR> lion, when Belzig speaks from the fireplace.
<BR>
<BR> BELZIG
<BR> I\'m afraid an auction is not possible.
<BR> (pause)
<BR> Your fire is dying here, Fraulein.
<BR> (a beat, then threatening)
<BR> Why don\'t you tell us where the
<BR> piece is right now?
<BR>
<BR> MARION
<BR> Listen, Herr Mac, I don\'t know who
<BR> you\'re used to dealing with, but
<BR> no one tells me what to do in my
<BR> place.
<BR>
<BR> Belzig, still looking in the fire, sneers and shakes
<BR> his head.
<BR>
<BR> BELZIG
<BR> Americans! You\'re all alike. Frau-
<BR> lein Ravenwood. I\'ll show you what
<BR> I\'m used to.
<BR>
<BR> He motions with his hand. The Mongolian moves up behind
<BR> Marion and lifts her roughly over the top of the bar,
<BR> knocking over bottles and spilling liquor. He deposits
<BR> her on the other side, where the Nepalese and the Second
<BR> Nazi flank her and hold her cruelly, arms behind her back.
<BR> Marion raises a ruckus.
<BR>
<BR> Belzig turns from the fireplace. In his hand is the poker,
<BR> its end glowing orange. He advances on Marion. Marion
<BR> stops yelling, her eyes widen in terror.
<BR>
<BR> MARION
<BR> Wait! I can be reasonable--
<BR>
<BR> BELZIG
<BR> That time is passed.
<BR>
<BR> The glowing poker point moves inexorably across the room
<BR> toward Marion\'s face.
<BR>
<BR> MARION
<BR> You don\'t need that. I\'ll tell you
<BR> everything!
<BR>
<BR> BELZIG
<BR> Yes, I know you will.
<BR>
<BR> Belzig has no intention of stopping now. The glowing tip
<BR> is approaching Marion\'s face. The Nepalese watches with
<BR> savage glee.
<BR>
<BR> The tip of the poker is five inches from Marion\'s nose
<BR> when there is a loud CRACK! and the fall of Indy\'s bull-
<BR> whip wraps around the middle of the poker and tears it
<BR> out of Belzig\'s hands. The poker sails high across the
<BR> room, free of the whip, and lands in the heavy curtains
<BR> that cover one window. The curtains immediately burst
<BR> into flame.
<BR>
<BR> The four Bad Men look in surprise toward the front en-
<BR> trance. Indy is poised there, the whip in his right
<BR> hand, a .45 automatic raised toward them in his left.
<BR>
<BR> INDY
<BR> Hello.
<BR>
<BR> Now everything begins to happen very fast--
<BR>
<BR> The Mongolian had just come around the bar at the end
<BR> opposite the medallion. He dives back to crouch behind
<BR> the end of the bar, raising his submachine gun.
<BR>
<BR> Belzig and the Second German dive behind tables near the
<BR> bar. The Nepalese is slower to leave Marion, he draws a
<BR> Luger. Indy\'s .45 barks and the Nepalese dies spinning
<BR> against the bar. Indy fires in the direction of the
<BR> Mongolian.
<BR>
<BR> Marion swings up over the top of her bar. Belzig fires at
<BR> her, but his bullets smash bottles behind the bar and thud
<BR> into the raven.
<BR>
<BR> Marion flattens out on the floor behind the bar as bullets
<BR> hit above her. She reaches up, snatches the axe handle
<BR> from where Mahdlo left it, and begins crawling down the
<BR> length of the bar toward--
<BR>
<BR> The Mongolian, who sticks his submachine gun out and fires
<BR> blindly in Indy\'s direction.
<BR>
<BR> Indy is in a crouch behind a table, trying to get a shot
<BR> at someone. He doesn\'t notice in the din and confusion
<BR> when the door bursts open. An incredible, fearsome GIANT
<BR> SHERPA, almost seven feet tall, soars in and tackles Indy
<BR> from behind. The whip flies from Indy\'s hand as he and
<BR> the Giant Sherpa roll across the floor, upsetting furniture.
<BR>
<BR> The Mongolian, seeing this, stands up confidently. Marion
<BR> rises behind him and bashes him over the head with the axe
<BR> handle. He goes down and out.
<BR>
<BR> Fire has completely engulfed the curtains and is working
<BR> across the ceiling on decorative yak skin bunting. A burn-
<BR> ing fragment drops to the top of the bar, which immediately
<BR> lights up, fueled by the spilled alcohol. Full whiskey
<BR> bottles explode like Molotov cocktails.
<BR>
<BR> Rolling on the floor, Indy and the Giant Sherpa are fight-
<BR> ing for control of Indy\'s .45. Belzig sees this and shouts
<BR> to the Second Nazi, who is rising from cover with submachine
<BR> gun in hand.
<BR>
<BR> BELZIG
<BR> Shoot them both!
<BR>
<BR> SECOND NAZI
<BR> He\'s our man!
<BR>
<BR> BELZIG
<BR> Do as I say!
<BR>
<BR> Both the Giant Sherpa and Indy hear this. The Giant
<BR> Sherpa exchanges an alarmed look with Indy and together
<BR> they swing the .45 around toward the surprised Second
<BR> Nazi. Two blasts blow him away.
<BR>
<BR> That done, Indy brings a brass spittoon down on the Giant
<BR> Sherpa\'s wrist and the .45 slides away. Indy jumps up and
<BR> kicks the Giant Sherpa, who barely seems to feel it. He
<BR> grabs Indy and flips him effortlessly onto a table.
<BR>
<BR> Belzig now has a clear shot at Indy. He raises his luger.
<BR>
<BR> Marion, at the end of the bar, finally gets the hand of
<BR> the Mongolian\'s submachine gun. It roars to life in the
<BR> general direction of the ceiling.
<BR>
<BR> Belzig runs for cover as Marion gets control of the gun
<BR> and levels it. Belzig dives around the end of the bar
<BR> opposite Marion. When he has set himself, he peeks up over
<BR> the edge of the scorched bar. The alcohol fire has moved
<BR> down the bar and now, much to Belzig\'s surprise, he finds
<BR> himself staring at the fire-blackened sun-shaped medallion!
<BR> His eyes widen. He cannot believe his good fortune. With-
<BR> out hesitation he picks up the metal medallion, palming it.
<BR> Immediately there is a sickening searing sound and Belzig\'s
<BR> expression changes from joy to agony. He screams in pain
<BR> and tries to shake the red-hot medallion from his skin.
<BR> Marion opens up and the bar starts to splinter in front of
<BR> Belzig. The medallion comes free of Belzig\'s hand and
<BR> rolls across the floor.
<BR>
<BR> Belzig has had enough. In excruciating pain, he turns,
<BR> sees a window, runs and dives through the glass.
<BR>
<BR> An exhausted Indy uses his whole body to upend the Giant
<BR> Sherpa, who lands hard on his back. They are surrounded
<BR> by flames.
<BR>
<BR>
<BR>55 EXT. \"THE RAVEN\" - SNOW BANK - NIGHT 55
<BR>
<BR> Belzig has his burned hand stuck deep in the snow. Now
<BR> he withdraws it, steaming, and scurries off into the night
<BR> like a wounded animal.
<BR>
<BR>
<BR>56 INT. \"THE RAVEN\" - NIGHT 56
<BR>
<BR> Marion throws down the empty submachine gun and moves
<BR> through the flames to the center of the bar where she left
<BR> the box with the five grand. She finds the remains of the
<BR> box and its contents: a shapeless pile of ash and charred
<BR> wood.
<BR>
<BR> MARION
<BR> Unbelievable!
<BR>
<BR> At the end of the bar, the Mongolian has come back to life.
<BR> He shakes out his head, then reaches inside his coat and
<BR> pulls out a Mauser pistol.
<BR>
<BR> Indy smashes a chair over the head of the Giant Sherpa and
<BR> the huge creature goes down.
<BR>
<BR> The Mongolian points his Mauser through the smoke and flame
<BR> at Indy. Suddenly, the Mongolian is shot dead.
<BR>
<BR> Marion stands beneath her stuffed raven with the Baretta.
<BR>
<BR> Indy moves quickly through the flames, his eyes scanning
<BR> the floor. He picks up his bullwhip and his crumpled felt
<BR> hat. He peers through the smoke till he spots Marion mov-
<BR> ing among the burning furniture.
<BR>
<BR> INDY
<BR> Let\'s get out of here!
<BR>
<BR> MARION
<BR> Not without that piece you want!
<BR>
<BR> INDY
<BR> It\'s here?
<BR>
<BR> Marion nods, kicks aside a burning chair. Another burning
<BR> beam falls from the roof. Indy pulls Marion close to him
<BR> protectively.
<BR>
<BR> INDY
<BR> Forget it! I want you out of here.
<BR> Now!
<BR>
<BR> He begins dragging her out.
<BR>
<BR> MARION
<BR> (pointing)
<BR> There!
<BR>
<BR> She breaks away from him, darts back and picks the hot
<BR> medallion up in the loose cloth of her blouse.
<BR>
<BR> INDY
<BR> Let\'s go!
<BR>
<BR> MARION
<BR> (looking around)
<BR> You burned down my place!
<BR>
<BR> INDY
<BR> (figuratively)
<BR> I owe you plenty!
<BR>
<BR> MARION
<BR> (literally)
<BR> You owe me plenty!
<BR>
<BR> INDY
<BR> (smiles)
<BR> You\'re something!
<BR>
<BR> MARION
<BR> I am something. And I\'ll tell you
<BR> exactly what--
<BR>
<BR> She holds up the medallion possessively.
<BR>
<BR> MARION
<BR> I\'m your partner!
<BR>
<BR>
<BR>57 EXT. CAIRO - VARIOUS SHOTS - DAY 57
<BR>
<BR> First we see the sprawl, the soaring minarets, the an-
<BR> cient skyline. Then we\'re closer, in the narrow, exotic
<BR> streets, teeming with life: fierce-looking men in tattered
<BR> galabiyas, black-gowned women with veiled faces, ragged,
<BR> barefoot children.
<BR>
<BR>
<BR>58 OMIT OMIT 58
<BR>
<BR>
<BR>59 INT. DINING ROOM - SALLAH\'S HOUSE (OLD CAIRO) 59
<BR>
<BR> Indy and Marion have been welcomed like family into the
<BR> crowded home of SALLAH, his wife FAYAH, and their NINE
<BR> CHILDREN (ages 4 - 1<IMG SRC="images/forum/icons/icon_cool.gif">. Fayah, a huge, imposing woman,
<BR> appears, at first glance, to be the power in the house.
<BR> Sallah, a small, cheerful, energetic fellow in his for-
<BR> ties defers to his wife in all matters of little importance.
<BR> Suddenly the general liveliness at the children\'s table
<BR> escalates into pandemonium, attracting the attention of
<BR> the adults.
<BR>
<BR> FAYAH
<BR> Silence!
<BR> (there is silence)
<BR> Why do you forget yourselves?
<BR>
<BR> The gaggle of grinning off-spring parts to reveal in their
<BR> midst--a MONKEY. It is munching some flat Arab bread.
<BR>
<BR> FAYAH
<BR> What is this? Who brought this
<BR> animal in?
<BR>
<BR> All the children chatter their innocence at once. The
<BR> Monkey chatters too; it\'s an entertainer. The Monkey
<BR> jumps from the children\'s table to the adults\' and struts
<BR> slowly up toward Marion, who thinks it\'s the cutest thing
<BR> she ever saw. When it reaches her, it takes off its tur-
<BR> ban and does a deep, grand bow to her. She is delighted
<BR> and takes the Monkey into her arms. The Monkey kisses
<BR> her cheek. The children laugh.
<BR>
<BR> MARION
<BR> Why, thank you. I like you too.
<BR>
<BR> FAYAH
<BR> Then it shall be welcome in our house.
<BR>
<BR> MARION
<BR> Oh, no! You don\'t have to have it
<BR> around if you don\'t want it--
<BR>
<BR> SALLAH
<BR> (cheerfully)
<BR> All of Allah\'s creatures are welcome
<BR> here. You please us by letting us
<BR> please you.
<BR>
<BR>
<BR>60 OMIT OMIT 60
<BR>
<BR>
<BR>61 EXT. COURTYARD - SALLAH\'S HOUSE - NIGHT 61
<BR>
<BR> Indy and Sallah sit in the small, protected courtyard.
<BR> Sallah holds the two sections of the headpiece, the medal-
<BR> lion and the base, and has for the first time fitted them
<BR> together. They fit perfectly and complete the headpiece.
<BR> He peruses the markings on the headpiece quizzically. Indy
<BR> is cleaning and loading a .45 automatic.
<BR>
<BR> INDY
<BR> I knew the Germans would hire you,
<BR> Sallah. They couldn\'t have an ex-
<BR> cavation in the desert without the
<BR> best digger in Egypt.
<BR>
<BR> SALLAH
<BR> All Arabs look alike to them, Indy.
<BR>
<BR> INDY
<BR> Tell me about the map room at Tanis.
<BR>
<BR> SALLAH
<BR> We found it three days ago. I
<BR> broke through myself.
<BR>
<BR> INDY
<BR> Those Nazis are moving awfully fast.
<BR>
<BR> SALLAH
<BR> The Frenchman is helping them.
<BR>
<BR> Indy reacts.
<BR>
<BR> INDY
<BR> Belloq. So he got away from the
<BR> Indians. This is going to be
<BR> more interesting than I thought.
<BR>
<BR> SALLAH
<BR> I\'m afraid this has put the Germans
<BR> close to finding the Well of the Souls.
<BR>
<BR> INDY
<BR> (indicates the headpiece)
<BR> Even Belloq won\'t be able to find it
<BR> without that. Can you make anything
<BR> of those markings? They\'re nothing
<BR> I\'m familiar with.
<BR>
<BR> SALLAH
<BR> (shakes his head \"no\")
<BR> But I know someone who might. You
<BR> can go to see him tomorrow.
<BR> (a worried expression)
<BR> Indy...something bothers me.
<BR>
<BR> INDY
<BR> What is it, my friend?
<BR>
<BR> Sallah finds it hard to say. When he finally speaks, his
<BR> words are accompanied by a strange, eerie, foreboding rush
<BR> of wind through the courtyard. Just a coincidence we might
<BR> suppose.
<BR>
<BR> SALLAH
<BR> It is the Ark. If it is there, at
<BR> Tanis...It is not something man was
<BR> meant to disturb...Death has always
<BR> surrounded it. It is not of this
<BR> earth.
<BR>
<BR> The wind dies down. Indy shakes off a chill and stares
<BR> thoughtfully at his friend.
<BR>
<BR>
<BR>62 EXT. HEAVILY TRAFFICKED CAIRO STREET - DAY 62
<BR>
<BR> Indy and Marion are briskly walking along one of Cairo\'s
<BR> busy bazaar streets. Vendors with fine cloth, pottery,
<BR> baskets, jewelry, etc. line the street. Marion has the
<BR> Monkey from Sallah\'s house on her shoulder.
<BR>
<BR> INDY
<BR> Do you really need that monkey?
<BR>
<BR> MARION
<BR> I\'m surprised at you, Indy. Talk-
<BR> ing that way about our baby. He\'s
<BR> got your looks, too.
<BR>
<BR> INDY
<BR> And your brains.
<BR>
<BR> As Indy and Marion turn a corner, the Monkey seems to
<BR> notice something and immediately jumps from Marion\'s
<BR> shoulder and hurries off at a frantic pace down the street.
<BR>
<BR> MARION
<BR> (looking disappointed)
<BR> Hey! Hey!... where\'re you going?
<BR>
<BR> INDY
<BR> (dragging Marion on)
<BR> He\'ll be OK. Come on. Come on.
<BR>
<BR>
<BR>63 EXT. ANOTHER CAIRO STREET - DAY 63
<BR>
<BR> The Monkey is seen running around another corner and
<BR> jumps into the waiting arms of MONKEY MAN, who appears
<BR> to be like a beggar with a dirty turban and an eye patch.
<BR> MONKEY MAN immediately hurries down the street and passes
<BR> into a building. In the building are two GERMAN AGENTS.
<BR> MONKEY MAN and the MONKEY both give the Heil Hitler salute
<BR> and engage in quick talk.
<BR>
<BR> MONKEY MAN quickly leaves the two GERMAN AGENTS and gets
<BR> back to the street. He is obviously shadowing Indy and
<BR> Marion. Indy and Marion are just now passing as the MONKEY
<BR> MAN ducks back behind some baskets.
<BR>
<BR>
<BR>64 EXT. ANOTHER BUSY CAIRO STREET - DAY 64
<BR>
<BR> Indy and Marion are passing under a balcony where a lone
<BR> GERMAN AGENT stands watch. After they pass, the AGENT nods
<BR> to some BAD ARABS who are hiding in the shadows of the
<BR> street. In a moment, Indy and Marion pass by the break.
<BR> Monkey Man turns and looks up at a roof further down the
<BR> alley. He waves with his hand. Someone up there waves
<BR> back.
<BR>
<BR>
<BR>65 EXT. A SMALL BAZAAR - DAY 65
<BR>
<BR> Indy and Marion have reached a tiny square, made even
<BR> more cramped by its use as a small bazaar. They have
<BR> started working their way through the crowd when several
<BR> Bad Arabs and a German Agent begin to converge on them.
<BR> Indy immediately sees what\'s happening and pulls the bull
<BR> whip from his jacket. The first Bad Arab to reach them
<BR> gets hit in the mouth by the handle of the whip. Now all
<BR> hell breaks loose, with Bad Arabs, Innocent Shoppers, bas-
<BR> kets of fruit and tables of goods flying every which way
<BR> in the constricted space.
<BR>
<BR> INDY
<BR> (to Marion)
<BR> Run! Get out of here!
<BR>
<BR> Indy catches a dagger-wielding Bad Arab around the legs
<BR> with the whip and flips him. Marion is reluctant to leave
<BR> Indy.
<BR>
<BR> INDY
<BR> Go, dammit! Go!
<BR>
<BR> Marion goes. She runs off between two buildings. A Bad
<BR> Arab takes off after her. Monkey Man, now standing at
<BR> the edge of the square, points at Marion. The Monkey
<BR> jumps off his shoulder and follows Marion.
<BR>
<BR>
<BR>66 EXT. BETWEEN THE BUILDINGS - DAY 66
<BR>
<BR> Marion runs along the narrow space and soon encounters a
<BR> five foot wall. She flops over it. The Bad Arab is
<BR> right on her heels. He reaches the wall and vaults over.
<BR> On the other side of the wall, the Bad Arab lands in a
<BR> crouch, looks ahead and doesn\'t see Marion. Immediately
<BR> a heavy earthen pot smashes over his head, putting him
<BR> out. Marion steps from an alcove and starts to run to-
<BR> ward the street at the other end of the walkway. Suddenly
<BR> another Bad Arab and a new German Agent appear in the
<BR> street at that end. Before they can spot her, Marion
<BR> retreats to the alcove again. There is a huge rattan
<BR> basket sitting there. Marion climbs in and closes the
<BR> top above her.
<BR>
<BR> The only witness: The Monkey, who is now perched on the
<BR> five foot wall.
<BR>
<BR>
<BR>67 EXT. THE SMALL BAZAAR - DAY 67
<BR>
<BR> Chaos. An entire booth of pots and pans collapses on a
<BR> Bad Arab and a German Agent as Indy whips away a support.
<BR>
<BR>
<BR>68 EXT. BETWEEN THE BUILDINGS - DAY 68
<BR>
<BR> The chattering Monkey leads a German Agent and two Bad
<BR> Arabs to Marion\'s hiding place, gesturing manically.
<BR>
<BR>
<BR>69 EXT. THE SMALL BAZAAR - DAY 69
<BR>
<BR> Indy ducks under the swinging blade of a huge Arabian
<BR> sword and kicks the Bad Arab Swordsman in the groin.
<BR>
<BR>
<BR>70 EXT. SIDE STREET - DAY 70
<BR>
<BR> The German Agent leads the way as the two Bad Arabs carry
<BR> the huge basket above their heads. The basket top has
<BR> been fastened closed, but Marion is making a fuss inside.
<BR> At the place where the street cuts across the far side
<BR> of the bazaar, Marion is able to wedge the top open one
<BR> inch and screams--
<BR>
<BR> MARION
<BR> Indy-y-y-y!
<BR>
<BR>
<BR>71 EXT. THE SMALL BAZAAR - DAY 71
<BR>
<BR> Indy has heard her. He looks across the square as the
<BR> basket and its escorts disappear beyond a building. One
<BR> last Bad Arab rises before him. Indy\'s whip flashes and
<BR> the Bad Arab\'s robe falls down to his ankles. Indy fran-
<BR> tically pushes his way through the panicked mass of human-
<BR> ity in the direction the basket has gone.
<BR>
<BR>
<BR>72 EXT. THE FOOT CHASE - INTERCUTTING INDY AND THE 72
<BR> MOVING BASKET - DAY
<BR>
<BR> The Bad Guys move the basket as fast as they can through
<BR> streets, alleys and passageways thick with people. Indy
<BR> always seems to round a corner just in time to catch a
<BR> glimpse of the basket before it disappears around a new
<BR> corner. Indy must fight a flow of humanity as powerful
<BR> as an ocean riptide. Finally, at the head of one par-
<BR> ticularly crowded alley, Indy leaps up onto a wall for
<BR> a clearer view. Whatever he sees gives him an idea and
<BR> he cuts between two buildings rather than following
<BR> the basket.
<BR>
<BR>
<BR>73 EXT. DESERTED ALLEY - DAY 73
<BR>
<BR> Two Bad Arabs come running down the Alley with the basket
<BR> between them. Suddenly, Indy\'s whip flashes out sending
<BR> both Arabs and the basket tumbling. Indy steps into view,
<BR> his .45 trained on the sprawled Arabs, and looks at the
<BR> basket. The top has come flying off and the contents have
<BR> clattered onto the cobblestone: inside is not Marion,
<BR> but a load of contraband pistols, rifles and ammo. Indy is
<BR> advancing on the trembling Bad Arabs with an ugly look
<BR> when suddenly he hears Marion scream around the corner.
<BR>
<BR>
<BR>74 EXT. DESERTED SQUARE - DAY 74
<BR>
<BR> Indy rounds the corner and is immediately driven back by
<BR> machine gun fire. Taking cover, he gets quick, inter-
<BR> mittent glimpses of this scene: At the far corner of the
<BR> large, deserted square is a canvas-covered truck. Two
<BR> Bad Arabs are hurrying toward it with a large rattan bas-
<BR> ket between them, Marion screaming inside. A German Agent
<BR> is covering their retreat with a machine gun from the cab
<BR> of the truck. Indy runs up to see the rattan basket
<BR> being heaved into the back of the truck.
<BR>
<BR>
<BR>75 EXT. BACK OF THE TRUCK - DAY 75
<BR>
<BR> What Indy cannot see is that the basket lands among an
<BR> ominous load of German munitions, dynamite and firearms.
<BR> The truck immediately peels out.
<BR>
<BR>
<BR>76 EXT. DESERTED SQUARE - DAY 76
<BR>
<BR> The German Agent has stopped firing in order to drive. He
<BR> floors it, aiming for a street at the corner of the square.
<BR> Indy uses the lull to take careful aim at the German Agent\'s
<BR> profile and fire off three careful shots. The German Agent
<BR> is hit, blasted dead against the steering wheel. The speed-
<BR> ing truck swerves, hits a wall, rolls over and explodes in
<BR> an enormous, multi-leveled eruption as its contents ignite.
<BR> Several surrounding buildings are leveled.
<BR>
<BR> Indy, blown back across the square, looks on, astounded and
<BR> horror-stricken.
<BR>
<BR> INDY
<BR> Marion.
<BR>
<BR>
<BR>77 INT. ARAB BAR - NIGHT 77
<BR>
<BR> A dark, smoke-filled den of iniquity. The patrons,
<BR> almost all fearsome Arabs, sit in small shadowy groups
<BR> around the room. Indy stands at the bar finishing off
<BR> a fifth of bourbon. He is drunk. The ARAB BARTENDER
<BR> places a new bottle of expensive bourbon in front of him.
<BR> Indy eyes it queerly.
<BR>
<BR> ARAB BARTENDER
<BR> The gentleman in the corner sent it.
<BR> He would like you to join him.
<BR>
<BR> INDY
<BR> (doesn\'t even look)
<BR> Too bad. I\'m drinking alone.
<BR>
<BR> The Arab Bartender does a take, looking at the three,
<BR> tough GERMAN HENCHMEN who have surrounded Indy from out
<BR> of the smoke, their hands stuffed in bulging trenchcoat pock-
<BR> ets. Indy notices them now with a bleary glance. He
<BR> decides he\'s in no shape to kill or be killed and moves
<BR> with them across the room, taking his bottle with him.
<BR> The Arab patrons take this in and mind their own business.
<BR>
<BR> The occupant of the smoke-shrouded corner table becomes
<BR> visible only as Indy reaches there: it is Emile Belloq.
<BR> He is drinking wine.
<BR>
<BR> INDY
<BR> Belloq.
<BR>
<BR> BELLOQ
<BR> Good evening, Dr. Jones.
<BR>
<BR> INDY
<BR> I ought to kill you right now.
<BR>
<BR> BELLOQ
<BR> It was not I who brought the girl
<BR> into this dirty business.
<BR>
<BR> Indy knows it\'s true; that\'s what\'s tearing him up.
<BR>
<BR> BELLOQ
<BR> Sit down, please, before you fall
<BR> down. We can behave as civilized
<BR> people. I\'m afraid it will be your
<BR> last opportunity.
<BR>
<BR> Indy sits, glancing at the German Henchmen, who settle
<BR> nearby, just out of earshot.
<BR>
<BR> INDY
<BR> Not a very private place for a murder.
<BR>
<BR> BELLOQ
<BR> (looking around)
<BR> These Arabs will not interfere in
<BR> the white man\'s business. They do
<BR> not care if we kill each other off.
<BR> (takes a sip of wine, refers to it)
<BR> Terribly difficult finding a decent
<BR> vintage here. You were quite vig-
<BR> orous in Shanghai. Unfortunately,
<BR> our friend the Wild Boar had taken
<BR> the precaution of making several
<BR> copies of the piece.
<BR>
<BR> Indy registers this as he takes a drink. Belloq watches
<BR> him with disdainful amusement.
<BR>
<BR> BELLOQ
<BR> How odd that it should end this way
<BR> for us, after so many...stimulating
<BR> encounters. I almost regret it.
<BR> Where shall I find a new adversary
<BR> so close to my own level?
<BR>
<BR> INDY
<BR> Try the local sewer.
<BR>
<BR> BELLOQ
<BR> I know you despise me. We always
<BR> hate in others that which we most
<BR> fear in ourselves. And you and I
<BR> are very much alike.
<BR>
<BR> INDY
<BR> Now you\'re getting nasty.
<BR>
<BR> BELLOQ
<BR> We have always done the same kind of
<BR> work. Our methods have not differed
<BR> as much as you pretend. I am a sha-
<BR> dowy reflection of you. But it would
<BR> have taken only a nudge to make you
<BR> the same as me, to push you out of
<BR> the light.
<BR>
<BR> There\'s a certain amount of truth to this; the recognition
<BR> of it flickers across Indy\'s bleary eyes. Belloq sees
<BR> it there.
<BR>
<BR> BELLOQ
<BR> You know it to be true! How nice.
<BR> And how ironic the timing.
<BR>
<BR> Belloq leans forward, eyes shining, voice suddenly different.
<BR>
<BR> BELLOQ
<BR> Do you realize what the Ark is?
<BR> (very intense)
<BR> It\'s a transmitter. A radio for
<BR> talking to God! And now it is
<BR> within my grasp.
<BR>
<BR> INDY
<BR> What about your boss, Der Fuhrer?
<BR> I thought he was waiting to take
<BR> possession.
<BR>
<BR> Belloq glances into the gloom at the German Henchmen.
<BR>
<BR> BELLOQ
<BR> (quieter)
<BR> When the time is right. When I am
<BR> finished with it.
<BR>
<BR> INDY
<BR> I hope your friends are patient.
<BR> Dangerous work, Belloq.
<BR>
<BR> BELLOQ
<BR> Yes. Very. You may consider your-
<BR> self fortunate that your involve-
<BR> ment concludes here.
<BR>
<BR> INDY
<BR> Tell me, did you get away with
<BR> the idol?
<BR>
<BR> BELLOQ
<BR> (negative)
<BR> I was lucky to get away with my
<BR> life. The Hovitos proved quite
<BR> narrow-minded about the whole matter.
<BR>
<BR> Indy takes a drink.
<BR>
<BR> INDY
<BR> You know, if it\'s God you want to
<BR> talk to, maybe I can arrange it.
<BR>
<BR> BELLOQ
<BR> (smiles)
<BR> You have not changed. But, please,
<BR> do not reach for your weapon until
<BR> you are ready to die.
<BR>
<BR> The front door of the bar slams open and all nine of
<BR> SALLAH\'S CHILDREN scamper in and over to a surprised
<BR> Indy. Two of the smallest hop into his lap.
<BR>
<BR> LITTLE SON
<BR> Uncle Indy, we have been looking
<BR> for you.
<BR>
<BR> LITTLE DAUGHTER
<BR> Come home now, Uncle. Hurry!
<BR>
<BR> Suddenly the Arab patrons of the bar take an intense in-
<BR> terest in the situation, shifting their weapons.
<BR>
<BR> INDY
<BR> Yes. Yes, I\'ll come now.
<BR>
<BR> Indy stands up. The German Henchmen are poised. Belloq
<BR> eyes the Arab patrons and signals for the Henchmen to relax.
<BR>
<BR> BELLOQ
<BR> Next time, Indiana Jones, it will take
<BR> more than children to save you.
<BR>
<BR> The children usher Indy out.
<BR>
<BR>
<BR>78 INT. SALLAH\'S TRUCK - IN FRONT OF ARAB BAR - NIGHT 78
<BR>
<BR> Indy climbs into the cab of Sallah\'s truck with a smiling
<BR> Sallah as the children pile into the back. Sallah pulls out.
<BR>
<BR> SALLAH
<BR> I thought we would find you there.
<BR> (indicating the kids)
<BR> Better than the United States Ma-
<BR> rines, eh?
<BR>
<BR> INDY
<BR> (nods)
<BR> Thank you.
<BR> (grave)
<BR> Marion\'s dead.
<BR>
<BR> SALLAH
<BR> Yes, I know. I am sorry.
<BR> (pause)
<BR> More reason than ever to beat the
<BR> bastards.
<BR> (he touches Indy)
<BR> Life goes on, Indy.
<BR> (indicates the kids again)
<BR> There is the proof.
<BR>
<BR> Indy looks back there, nods.
<BR>
<BR> SALLAH
<BR> I have much to tell you, Indy.
<BR>
<BR>***************************** PAGE 51 MISSING *****************************
<BR>
<BR>81 (CONTINUED) 81
<BR>
<BR> Fayah brings in a tray of food and puts it on the table.
<BR> The bowl of dates is in one corner. As Fayah leaves the
<BR> room, the Monkey slips out of Sallah\'s lap and disappears
<BR> under the table. Indy leans over the food tray, his hand
<BR> hovering over the dates. But he chooses some cheese and
<BR> bread instead.
<BR>
<BR> INDY
<BR> And they made the calculation in
<BR> the map room?
<BR>
<BR> SALLAH
<BR> (nods vigorously)
<BR> This morning. Belloq and the boss
<BR> German, Shliemann. When they came
<BR> out of the map room, we were given
<BR> a new spot in which to dig...out
<BR> away from the camp.
<BR>
<BR> INDY
<BR> (resigned)
<BR> The Well of the Souls.
<BR>
<BR> Sallah nods, moves to the food. He picks up a date, then
<BR> changes his mind and drops it, taking a bunch of grapes
<BR> instead. Indy picks up a chicken leg in one hand and a
<BR> date in the other, his mind distracted. Fayah enters
<BR> the room just in time to see Indy flip the date high into
<BR> the air and try to catch it in his mouth. It bounces off
<BR> his chin and falls to the floor. Indy looks sheepishly at
<BR> Fayah. Fayah picks up the fallen date and puts it in the
<BR> dirty ash tray she is now removing. Amir speaks in a
<BR> slow, raspy voice without looking up.
<BR>
<BR> AMIR
<BR> Come. Look.
<BR>
<BR> The two men go and huddle over the old man. The Monkey
<BR> peeks up over the edge of the table at the array of food.
<BR> He picks up a date and disappears below the table. Amir
<BR> points to some markings on the lower part of the headpiece.
<BR>
<BR> AMIR
<BR> This is a warning...not to disturb
<BR> the Ark of the Covenant.
<BR>
<BR> INDY
<BR> Just what I need.
<BR>
<BR> The Monkey\'s paw comes up over the edge of the table and
<BR> grabs another date.
<BR>
<BR> INDY
<BR> How \'bout the height of the staff?
<BR> Did Belloq get it off of there?
<BR>
<BR> AMIR
<BR> Yes...it is here.
<BR>
<BR> Indy, nervous, goes back to the food tray, picks up another
<BR> date. When he turns back to the men, the Monkey\'s paw
<BR> grabs another date.
<BR>
<BR> We see the headpiece in closeup on the table. Amir\'s crooked
<BR> fingers trace a line of markings along the bottom section
<BR> to the break in the piece.
<BR>
<BR> AMIR
<BR> It says it is...ten jamirs high...
<BR>
<BR> SALLAH
<BR> About seventy-five inches.
<BR>
<BR> AMIR
<BR> Wait! I am not finished...
<BR>
<BR> Amir\'s finger moves across the break as the markings con-
<BR> tinue on the sun medallion.
<BR>
<BR> AMIR
<BR> (reading)
<BR> \"And one jamir to honor the Hebrew
<BR> God whose Ark this is.\"
<BR>
<BR> Indy, still holding the date, exchanges a long look with
<BR> Sallah.
<BR>
<BR> INDY
<BR> You said their top section was blank.
<BR> Are you absolutely sure?
<BR>
<BR> Sallah nods.
<BR>
<BR> INDY
<BR> Belloq\'s staff is seven and a half
<BR> inches short. They\'re digging in
<BR> the wrong spot!
<BR>
<BR> Sallah and Indy begin to laugh. Amir gives them a glance
<BR> and returns to his wine. Sallah leans over and kisses the
<BR> old man.
<BR>
<BR> SALLAH
<BR> (to Amir)
<BR> A home run, my friend, grand slam!
<BR> (to Indy)
<BR> We have a saying--\"A little luck is
<BR> better than much smartness.\" Indy,
<BR> pardner, you are very lucky fellow.
<BR>
<BR> Indy hoots. Then he takes the date in his hand and flips
<BR> it high in the air. He opens his mouth to catch it, but
<BR> it doesn\'t come down. He has inadvertently thrown it into
<BR> a bowl of a hanging lamp. This makes the men laugh even
<BR> harder.
<BR>
<BR> Indy goes over and picks up another date. He turns laugh-
<BR> ing to Sallah and doesn\'t see as the Monkey\'s paw comes up,
<BR> slowly, takes another date and begins to withdraw. Sudden-
<BR> ly the paw is stricken with palsy and the unseen Monkey
<BR> goes into its death throws. Sallah watches the paw as
<BR> though hypnotized. Finally the paw slips from sight and
<BR> we hear a solid THUMP! on the floor. Sallah walks around
<BR> the table and looks at the floor. The Monkey lies dead
<BR> among a mess of date pits.
<BR>
<BR> Indy is in a happy world of his own. He throws his date
<BR> high in the air. He positions himself under it and waits
<BR> for it to drop in. Here it comes. Right on target. As
<BR> it\'s about to disappear into Indy\'s mouth, Sallah\'s hand
<BR> flashes in and grabs it. Indy looks mystified and disap-
<BR> pointed. Sallah motions toward the dead Monkey.
<BR>
<BR> SALLAH
<BR> Bad dates.
<BR>
<BR>
<BR>82 EXT. DESERT ROAD - MORNING 82
<BR>
<BR> Two old trucks come down a narrow mountain road and onto
<BR> the flat surface of the desert.
<BR>
<BR> Further out into the desert, the one in the lead, Sallah\'s
<BR> truck, stops and the second one, Omar\'s truck, pulls up
<BR> beside it. There are half a dozen Arab Diggers in Omar\'s
<BR> truck. Indy, dressed as an Arab, gets out of the cab of
<BR> Sallah\'s truck and moves over to confer with OMAR, another
<BR> old friend. They point off into the desert and reach some
<BR> conclusion. Indy gives him a pat on the back; Omar turns
<BR> off the road and drives into the desert with his workers.
<BR> Indy hops back in the cab of Sallah\'s truck with Sallah.
<BR> As they move down the road we see that the back of the
<BR> truck holds three other Arab Diggers.
<BR>
<BR>
<BR>83 EXT. RISE ABOVE THE TANIS DIGS - MORNING 83
<BR>
<BR> Indy and Sallah are lying in classic shouting fashion at
<BR> the top of the rise looking down on the Tanis Digs. Down
<BR> behind them, Sallah\'s truck is parked with the three Arab
<BR> Diggers.
<BR>
<BR> INDY
<BR> My God! They aren\'t kidding!
<BR>
<BR> WHAT HE SEES. The Tanis Digs are laid out below like a
<BR> painting. Trucks, bulldozers, Arab workers and German
<BR> supervisors are everywhere. The excavations themselves
<BR> are extensive and somewhat random - holes have been dug
<BR> and then abandoned, foundations and passageways unearthed
<BR> and then deserted. Beyond the main digs, a crude airstrip
<BR> has been created. Sallah points to what appears to be a
<BR> mound of dirt with a hole in it near the center of the
<BR> activity.
<BR>
<BR> SALLAH
<BR> There! That is the map room!
<BR>
<BR> INDY
<BR> What time does the sun hit the map?
<BR>
<BR> SALLAH
<BR> Just after eight.
<BR>
<BR> INDY
<BR> We haven\'t got much time. Where are
<BR> the Germans digging for the Well of
<BR> the Souls?
<BR>
<BR> Sallah points out into the desert a short way beyond the
<BR> main area of activity. The desert turns to sand dunes
<BR> out there, the surface undulating into the distance.
<BR> Several trucks and men are out there and a bulldozer is
<BR> lumbering noisily toward it.
<BR>
<BR> INDY
<BR> Okay. Let\'s go.
<BR>
<BR>
<BR>84 EXT. THE TANIS DIGS - MORNING 84
<BR>
<BR> Sallah\'s truck drives through the camp, one of the Arab
<BR> Diggers at the wheel. Indy and Sallah are in the back and
<BR> look just like the other two Arab Diggers. Sallah\'s
<BR> truck goes behind a tent and when it appears on the other
<BR> side, Indy and Sallah are gone.
<BR>
<BR>
<BR>85 EXT. AMONG THE TENTS - MORNING 85
<BR>
<BR> Indy and Sallah move stealthily among the tents. Indy car-
<BR> ries a smooth wooden staff almost seven feet tall. They
<BR> stop between two tents and look across a path at the en-
<BR> trance to the map room. What appeared to be a mound of
<BR> dirt is actually the roof of the ancient building. The
<BR> hole/entrance is a five-foot square skylight. Indy looks
<BR> around, then walks casually to the edge of the hole and
<BR> looks inside. Sallah joins him, producing a length of
<BR> rope from his robes. Indy drops the staff into the un-
<BR> seen map room as Sallah ties the rope around an oil drum.
<BR> When it\'s secure, Indy wastes no time disappearing down
<BR> it into the map room.
<BR>
<BR>
<BR>86 INT. MAP ROOM 86
<BR>
<BR> Indy is down the twenty feet to the floor of the room in
<BR> seconds. He tugs on the rope and it immediately gets pulled
<BR> up. Indy looks around with real wonder and excitement.
<BR> The room is lovely, with elaborate wall carvings and fres-
<BR> coes, all lit by the bright stream of sunlight flooding
<BR> in from above. This beam of light leads Indy\'s eye to
<BR> the far end, and the room\'s truly remarkable feature: built
<BR> into the floor in meticulous relief is a miniature stone
<BR> model of the ancient city of Tanis. Already, the sunlight
CCG

duce87
Messaggi: 34
Iscritto il: 01 gen 1970, 01:00
Località: Predappio

Messaggio da duce87 » 01 gen 1970, 01:33

86 INT. MAP ROOM 86
<BR>
<BR> Indy is down the twenty feet to the floor of the room in
<BR> seconds. He tugs on the rope and it immediately gets pulled
<BR> up. Indy looks around with real wonder and excitement.
<BR> The room is lovely, with elaborate wall carvings and fres-
<BR> coes, all lit by the bright stream of sunlight flooding
<BR> in from above. This beam of light leads Indy\'s eye to
<BR> the far end, and the room\'s truly remarkable feature: built
<BR> into the floor in meticulous relief is a miniature stone
<BR> model of the ancient city of Tanis. Already, the sunlight
<BR> has worked its way down the far wall and is edging onto
<BR> the miniature of the city. On the floor, to the skylight
<BR> side of the miniature, is an elaborate line created by
<BR> embedded mosaic tiles. The evenly spaced slots in the line,
<BR> each accompanied by a symbol of a time of year, are for the
<BR> base of the staff. Indy pulls the headpiece from his robes--
<BR> it has been welded together--and reaches for the staff.
<BR>
<BR>
<BR>87 EXT. ABOVE THE MAP ROOM - DAY 87
<BR>
<BR> An extremely nervous Sallah has the gathered rope in his
<BR> hands and is trying to appear casual as he inches back to-
<BR> ward the oil drum. There is now a good bit of activity
<BR> going on up here.
<BR>
<BR> JEEP GERMAN OS
<BR> Hey! You, the skinny one!
<BR>
<BR> Sallah jumps about three feet. The JEEP GERMAN is standing
<BR> in an open space ten yards away looking at Sallah.
<BR>
<BR> JEEP GERMAN
<BR> Yes, you. What are you doing there?
<BR>
<BR> Sallah gestures his innocence.
<BR>
<BR> JEEP GERMAN
<BR> Well bring that rope over here, you
<BR> cur.
<BR>
<BR> The Jeep German starts back toward his major concern:
<BR> his jeep is stuck in some sand beyond the next tent.
<BR> Some Arab Workers are trying in vain to budge it. Now
<BR> another German has backed his truck up to it. Sallah
<BR> can think of nothing to do except obey. With a worried
<BR> glance at the map room, be begins untying the rope from
<BR> the oil drum.
<BR>
<BR>
<BR>88 INT. THE MAP ROOM 88
<BR>
<BR> Indy is examining the results of Belloq\'s work. Red paint
<BR> marks one of the miniature buildings in the layout and a
<BR> white calibrated tape has been strung from that building
<BR> back to a miniature of the map room. Now Indy begins ex-
<BR> amining the mosaic base line for the staff. Sunlight has
<BR> moved further down across the miniature.
<BR>
<BR>
<BR>89 EXT. IN THE CAMP - DAY 89
<BR>
<BR> Sallah watches nervously as his precious rope is pulled
<BR> taut between the pulling truck and the stuck jeep. He
<BR> doesn\'t notice that he has chosen to stand next to a large,
<BR> steaming kettle of food until--
<BR>
<BR> HUNGRY GERMAN OS
<BR> Bring us some of that!
<BR>
<BR> He points to the kettle. Sallah looks frantically from
<BR> the rope, back to the skylight of the map room, to the
<BR> kettle of food.
<BR>
<BR> HUNGRY GERMAN
<BR> Now, idiot!
<BR>
<BR> Sallah picks up some serving pieces and gets to work.
<BR>
<BR>
<BR>90 INT. THE MAP ROOM 90
<BR>
<BR> The moment has arrived. Even the tension of the circum-
<BR> stances cannot distract Indy from the purity of what he
<BR> is about to do. All his calculations and adjustments com-
<BR> plete, Indy takes the Staff of Ra and places it--CLINK!--
<BR> in the right depression on the base line. This is as active
<BR> and exciting a moment as any archeologist can dream of
<BR> and, at heart, that is exactly what Indy is. The sunlight
<BR> catches the very top of the headpiece and moves within a
<BR> fraction of an inch of the tiny hole in its sun.
<BR>
<BR> The edge of the sunlight moving across the miniature city
<BR> is still a good two feet beyond the spot Belloq has settled
<BR> on. And now that line of light is broken by the shadow
<BR> of an ornate sun at the top of the staff.
<BR>
<BR> Indy\'s face reflects his concentration. And then his
<BR> immense pleasure. He sees what he came for.
<BR>
<BR> Out of the miniature city, one small building is being
<BR> lit by a tiny beam of sunlight in the center of the sha-
<BR> dow of the metal sun. And by some trick of ancient artis-
<BR> try, this one building responds to the sunlight like none
<BR> of the others. The golden light permeates it: it seems
<BR> to glow. The building is in a direct line with Belloq\'s--
<BR> all the Frenchman\'s other calculations were right--but it
<BR> is a foot and a half beyond it.
<BR>
<BR>
<BR>91 EXT. IN THE CAMP - DAY 91
<BR>
<BR> Sallah, sweating profusely, has finished serving the line
<BR> of Breakfasting Germans and now heads back to replace the
<BR> kettle and get away.
<BR>
<BR> HUNGRY GERMAN
<BR> Water. Bring us water.
<BR>
<BR>
<BR>92 INT. MAP ROOM 92
<BR>
<BR> Indy is on his knees at the miniature city, a special tape
<BR> measure in his hand. Indy has the tape strung from Belloq\'s
<BR> mistaken spot to his own correct spot. He gets his reading,
<BR> leaps up and crosses to the erect staff. He pulls the head-
<BR> piece off the staff and hides it in his robes. He quickly
<BR> breaks the wooden staff in two and throws the pieces behind
<BR> a pile of debris. Then he moves quickly to beneath the
<BR> skylight.
<BR>
<BR> INDY
<BR> (stage whisper)
<BR> Sallah.
<BR> (he waits, then louder)
<BR> Sallah!
<BR>
<BR> More waiting. Nothing. Indy looks around for some alter-
<BR> native means of escape. The room doesn\'t offer any. He
<BR> looks up at the skylight again.
<BR>
<BR> INDY
<BR> (loudest)
<BR> Sallah!
<BR>
<BR> A long pause. Then something comes down. A makeshift
<BR> rope. Really just a bunch of clothing tied together--
<BR> tunics, robes, pants. But what we see first and most
<BR> prominently, the first section of Indy\'s escape rope, is
<BR> a bright Nazi flag. Indy beams and climbs.
<BR>
<BR>
<BR>93 EXT. ABOVE THE MAP ROOM - DAY 93
<BR>
<BR> Indy sticks his head out the skylight, sees it clear
<BR> and flops his body out. Sallah, crouching behind the
<BR> oil drum, immediately starts pulling in the makeshift
<BR> rope. Sallah stuffs the rope in the oil drum and the
<BR> two men begin walking toward some tents.
<BR>
<BR> HUNGRY GERMAN OS
<BR> Hey, you! More water over here!
<BR>
<BR> Sallah glances at Indy, Then hurries back in that direc-
<BR> tion. The Hungry German focuses on Indy.
<BR>
<BR> HUNGRY GERMAN
<BR> Why aren\'t you at the digs? Come
<BR> here!
<BR>
<BR> Indy bows in wild subservience and hurries off in the
<BR> opposite direction.
<BR>
<BR> HUNGRY GERMAN
<BR> (yelling after him, irritated)
<BR> No, dummkopf, I said come!
<BR>
<BR>
<BR>94 EXT. BETWEEN TWO TENTS - DAY 94
<BR>
<BR> Indy hustles between the tents. Up ahead, two German
<BR> Officers stop to talk, blocking his exit. He moves a-
<BR> long the side of one of the tents until he finds an
<BR> opening and slips inside.
<BR>
<BR>
<BR>95 INT. THE TENT 95
<BR>
<BR> Indy finds himself in a tent set up for rather comfort-
<BR> able living. He has just started to cross it when he
<BR> hears a loud, excited grunting. He turns toward the sound.
<BR> In the corner, tied to a chair and gagged is Marion.
<BR> Indy rushes to her, snatches the gag from her mouth and
<BR> embraces her. They kiss, deep and long.
<BR>
<BR> INDY
<BR> I thought you were dead.
<BR>
<BR> MARION
<BR> They were throwing me around like
<BR> a rag doll.
<BR>
<BR> INDY
<BR> They must have switched baskets.
<BR> Thank god for that! Bless those
<BR> bastards. Have they hurt you?
<BR>
<BR> MARION
<BR> No. Not since I got here. They
<BR> just asked about you--what you knew.
<BR> The Frenchman\'s got the hots for me.
<BR> I\'ve been playing that along. Oh,
<BR> Indy, get me out of here.
<BR>
<BR> Indy pulls out a knife and then stops suddenly, thinking.
<BR>
<BR> MARION
<BR> What\'s wrong?
<BR>
<BR> INDY
<BR> (putting the knife away)
<BR> I have to leave you here for a little
<BR> while. I know where the Ark is. If
<BR> I take you out of here they\'ll start
<BR> combing the place for us.
<BR>
<BR> MARION
<BR> (louder)
<BR> Cut me loose!
<BR>
<BR> INDY
<BR> Keep your voice down.
<BR>
<BR> MARION
<BR> (screaming)
<BR> I said get me out of--
<BR>
<BR> Indy pops the gag back in her mouth. Her eyes widen in
<BR> fury and she grunts obscenities at him.
<BR>
<BR> INDY
<BR> Look, you don\'t know how glad I am
<BR> to see you. And I don\'t like do-
<BR> ing this. But the whole thing will
<BR> be shot if you don\'t just sit here
<BR> quietly. They haven\'t hurt you in
<BR> the last twenty-four hours, they
<BR> aren\'t going to start now. I\'ll be
<BR> back to get you in no time.
<BR>
<BR> He kisses her forehead, jumps up and hurries out of the
<BR> tent.
<BR>
<BR>
<BR>96 EXT. SAND DUNE OUTSIDE DIGS - DAY 96
<BR>
<BR> With the digs behind them, Indy and Sallah run up to the
<BR> ridge of the dune and over the top. At the bottom of the
<BR> far side, Omar\'s truck is parked. Omar and his men are
<BR> waiting.
<BR>
<BR>
<BR>97 EXT. DIFFERENT DUNE - DAY 97
<BR>
<BR> This new spot gives Indy a higher, better view of the
<BR> whole scene. Indy is using a surveyor\'s instrument to
<BR> take a reading--
<BR>
<BR> WHAT HE SEES. Looking through the instrument, Indy gets
<BR> a line from the map room through the site where the Nazis
<BR> are digging in the dunes to a spot several dunes over.
<BR> We focus on that virgin spot of well-hidden sand as--
<BR>
<BR> INDY
<BR> There!
<BR>
<BR>
<BR>98 EXT. INDY\'S DIG - DAY 98
<BR>
<BR> Omar\'s truck is parked at the stop just viewed from afar.
<BR> Dunes rise on either side. One of Omar\'s men has been
<BR> posted as a lookout up on a ridge. Everybody else--Indy,
<BR> Sallah, Omar, and his men--have begun digging for the
<BR> Well of the Souls.
<BR>
<BR> DISSOLVE TO:
<BR>
<BR> SAME SCENE, NIGHT. They continue to dig furiously, all
<BR> of them drenched in sweat. The hole has grown but this
<BR> is slow, back-breaking work.
<BR>
<BR>
<BR>99 INT. COMMAND TENT - TANIS DIGS - NIGHT 99
<BR>
<BR> Belloq, SHLIEMANN the ranking Nazi, and Shliemann\'s Aide,
<BR> GOBLER, come into the tent, which is full of charts and
<BR> maps, drawings of the Ark, radio equipment, liquor and
<BR> food. The men have been out digging for the Well all
<BR> day. They are tired, discouraged, testy. In all matters,
<BR> Gobler shows his alliance with Shliemann against Belloq
<BR> with small looks and body language. The Frenchman has
<BR> disappointed them and he is feeling the isolation of a
<BR> scapegoat. Belloq gets himself a drink as Shliemann towels
<BR> off his face.
<BR>
<BR> BELLOQ
<BR> I cautioned you about being prema-
<BR> ture with that communique to Berlin.
<BR> Archeology is not an exact science.
<BR> If does not adhere to time schedules.
<BR>
<BR> SHLIEMANN
<BR> The Fuhrer is not a patient man. He
<BR> demands constant reports and he ex-
<BR> pects progress. You led me to be-
<BR> lieve--
<BR>
<BR> BELLOQ
<BR> Nothing. I have made no promises.
<BR> I said only that it looked very
<BR> favorable. Perhaps the Ark will
<BR> still be found in an adjoining
<BR> chamber. Based on the informa-
<BR> tion in our possession, my cal-
<BR> culations were correct. Perhaps
<BR> some bit of evidence still eludes
<BR> us. Perhaps--
<BR>
<BR> GOBLER
<BR> Perhaps the girl can help us.
<BR>
<BR> Belloq shoots him an angry look.
<BR>
<BR> SHLIEMANN
<BR> My feeling exactly. She was in
<BR> possession of the original piece
<BR> for years. She may know much.
<BR> (really evil)
<BR> If properly motivated...
<BR>
<BR> BELLOQ
<BR> I tell you, she knows nothing use-
<BR> ful.
<BR>
<BR> SHLIEMANN
<BR> I\'m surprised to find you squeamish.
<BR> That is not your reputation. But
<BR> it needn\'t concern you. I have the
<BR> perfect man for this kind of work.
<BR>
<BR> Shliemann signals Gobler, who steps outside the tent a
<BR> moment, calls someone and then reappears. Belloq looks
<BR> warily at the entrance. After a moment Belzig enters,
<BR> reeking villainy. When his eyes find Shliemann, his
<BR> superior, he snaps a crisp \"Heil, Hitler!\" at him, hold-
<BR> ing his palm rigid a long time, exposing a burned scar in
<BR> the perfect shape of the sun medallion.
<BR>
<BR>
<BR>100 EXT. INDY\'S DIG - NIGHT 100
<BR>
<BR> In the eerie conjunction of moonlight and torchlight, Indy
<BR> and the other men step back in awe of their discovery:
<BR> there, flush with the bottom of their pit, is a heavy
<BR> stone entry door to an underground chamber. Special pry-
<BR> ing tools are produced. With two men assigned to each of
<BR> the two long tools, they work in unison to open the vault.
<BR> They open it a foot and the other men rush in to flop the
<BR> heavy door completely open. Down inside, only blackness.
<BR>
<BR> The men quickly prostrate themselves around the edge of
<BR> the entry to look inside. Indy and Sallah each take a
<BR> torch and hold them down the hole.
<BR>
<BR> WHAT THEY SEE. The Well of the Souls is a spooky chamber
<BR> thirty feet deep. The walls are covered with hieroglyphics
<BR> and carvings. The roof is supported intermittently by
<BR> stone pillars, the closest of which hits the roof very near
<BR> the entry hole. The Well is quite large; as Indy and Sallah
<BR> wave their torches, more and more of the room is revealed.
<BR> Now the far end of the chamber comes into view. There is
<BR> a stone altar down there and on this elaborated carved
<BR> platform is a stone chest, big enough to enclose the Lost
<BR> Ark and protect it from the ravages of time. This altar
<BR> appears to be the only place on the floor of the Well that
<BR> is not covered by a strange, dark carpet of some kind.
<BR>
<BR> INDY
<BR> The Ark must be in that stone case.
<BR> What\'s that gray stuff all over the
<BR> floor--
<BR>
<BR> He breaks off realizing exactly what that carpet is. He
<BR> blanches. Indiana Jones blanches.
<BR>
<BR> Indy drops his torch to the floor of the Well. This is
<BR> answered by the most horrific HISSING imaginable.
<BR>
<BR> WHAT HE SEES. That thick dark carpet is moving. It\'s
<BR> alive. It\'s thousands and thousands of deadly poisonous
<BR> snakes--Egyptian asps. And the only thing that seems ca-
<BR> pable of avoiding this venomous groundcover is the altar.
<BR> The snakes ebb and flow near it, but never encroach on it,
<BR> as though repelled by some invisible force.
<BR>
<BR> Indy shakes his head and talks to himself.
<BR>
<BR> INDY
<BR> Why snakes? Why did it have to be
<BR> snakes? Anything else.
<BR>
<BR> After a moment of this, he stops. He gathers his energy
<BR> and resolve and gets back to the task.
<BR>
<BR> SALLAH
<BR> Asps. Very dangerous.
<BR>
<BR> Where Indy\'s torch had landed is a circle of snake-free
<BR> floor. The snakes hate the flame; they stay away.
<BR>
<BR> INDY
<BR> Lots of torches. And oil. I
<BR> want a landing strip down there.
<BR>
<BR>
<BR>101 INT. THE WELL OF THE SOULS 101
<BR>
<BR> Fifteen torches have been dropped to the floor of the
<BR> chamber, combining to make a good-sized clear zone. Smoke
<BR> begins to fill the room. Several canisters of oil have
<BR> been lowered into this space. Now, a large wooden crate
<BR> is lowered slowly by rope. Rope handles are attached to
<BR> each end of the crate.
<BR>
<BR> Up at the hole, Indy gives Sallah a reassuring pat, takes
<BR> a breath, and swings carefully onto a rope hanging from
<BR> the hole. Despite his care, he swings a bit and his feet
<BR> hit the stone pillar which is so near the entry. Surpris-
<BR> ingly, the pillar actually moves a bit, showering a light
<BR> rain of crumbled stone to the floor below.
<BR>
<BR> Indy lands on the floor of the Well. He looks at the altar
<BR> over a sea of undulating death. He picks up an oil canister
<BR> and splashes two parallel lines of oil and lights them. A
<BR> path six feet wide begins to open to the altar. Behind
<BR> Indy, Sallah comes quickly down the rope.
<BR>
<BR> We begin to INTERCUT all the action in the Well from here
<BR> on with insert shots of the snakes outside the flames.
<BR> Snakes and snakes. We see: snakes piled and entwined six
<BR> inches deep; mother snakes laying snake eggs; snake eggs
<BR> hatching little snakes; snakes cannibalizing other snakes.
<BR>
<BR>
<BR>102 OMIT OMIT 102
<BR>
<BR>
<BR>103 INT. MARION\'S TENT 103
<BR>
<BR> Belloq has been talking to the still-bound Marion. He
<BR> has removed her gag. He is impatient, angry, uncomfort-
<BR> able. Caught between two forces.
<BR>
<BR> BELLOQ
<BR> Believe me, you make a mistake. If
<BR> you would just give me something to
<BR> placate them. Some bit of informa-
<BR> tion.
<BR>
<BR> MARION
<BR> I swear to you, I know nothing more.
<BR> I have no loyalty to Jones. He\'s
<BR> brought me only trouble.
<BR>
<BR> He wants to believe her.
<BR>
<BR> BELLOQ
<BR> I cannot control them.
<BR>
<BR> Marion\'s frightened look shifts suddenly to the entrance
<BR> of the tent. There are new arrivals there--Shliemann,
<BR> Gobler and Belzig. Belzig carries a black leather case.
<BR> He steps forward and smiles at Marion.
<BR>
<BR> BELZIG
<BR> We meet again, Fraulein.
<BR>
<BR>
<BR>104 EXT. INDY\'S DIG - JUST BEFORE DAWN 104
<BR>
<BR> The sky is just beginning to lighten over the dunes to
<BR> the east, making dangerously obvious the thin column of
<BR> smoke rising from the entrance to the Well. Omar and his
<BR> men are peering through the smoke down into the Well.
<BR>
<BR>
<BR>105. INT. THE WELL OF THE SOULS 105
<BR>
<BR> Indy and Sallah are on the altar. Pushing together with
<BR> all their strength, the heavy stone top of the protective
<BR> chest begins to slide away. Indy and Sallah exchange slightly
<BR> wary but very excited looks, then continue to push. As the
<BR> Ark begins to be exposed, the air seems to almost vibrate,
<BR> to become electrostatically charged. We hear what sounds
<BR> like a low HUM. The sea of snakes around the altar draws
<BR> back further from this presence.
<BR>
<BR> As the top of the stone chest is pushed completely off and
<BR> slams down beside it, we see THE LOST ARK OF THE COVENANT.
<BR> It is awesomely beautiful, breathtaking. 4 feet long,
<BR> 2.5 feet wide and 2.5 feet high. It\'s height, however, is
<BR> increased by the two sculptured gold angels mounted facing
<BR> each other on the top. Though the body of the Ark is aca-
<BR> cia wood, it has been overlaid with gold. An elaborate
<BR> gold crown surrounds the top edge and gold carrying rings
<BR> are attached to each corner.
<BR>
<BR> Sallah is mesmerized by the sight. His hand starts to
<BR> reach out and touch one of the angels, but Indy grabs it.
<BR>
<BR> INDY
<BR> Don\'t touch it! Never touch it!
<BR>
<BR> The wooden crate stands open next to the stone chest. Now
<BR> Indy extracts the wooden poles from its rings and begins
<BR> fitting them through the rings in the Ark. This takes
<BR> some maneuvering by the two men, but soon they are able
<BR> to lift the Ark clear of the stone chest and into the
<BR> wooden crate. They extract the poles, fasten the top of
<BR> the crate and stick the poles through the rings of the
<BR> wooden crate. They start back toward the space under the
<BR> hole.
<BR>
<BR> The fire strips have begun to dwindle, as have some of
<BR> the torches. The snakes move slowly in toward the clear
<BR> spaces. Indy and Sallah eye them nervously as they hurry
<BR> along with their heavy load. Under the hole, they hurried-
<BR> ly attach ropes to the wooden crate and it is pulled up.
<BR> Indy\'s concentration is on the tide of snakes.
<BR>
<BR> INDY
<BR> Hurry up! Why did it have to be
<BR> snakes?
<BR>
<BR> Sallah takes the next rope and climbs quickly out of the
<BR> Well. Indy has picked up a torch and now throws it at a
<BR> pool of snakes who are too close for his comfort. He turns
<BR> and takes hold of the exit rope. He gives it a first tug
<BR> and it falls down into the Well, landing partly beyond the
<BR> ring of fire where it instantly disappears in a tangle of
<BR> angry, hissing asps. Indy looks up at the hole.
<BR>
<BR> INDY
<BR> What the--
<BR>
<BR> Smiling down at him from the perimeter of the entry are
<BR> Belloq, Shliemann and Gobler.
<BR>
<BR> BELLOQ
<BR> Why, Dr. Jones, whatever are you
<BR> doing in such a nasty place?
<BR>
<BR> Belloq and the Germans laugh.
<BR>
<BR> INDY
<BR> Why don\'t you fellows come down
<BR> here? I\'ll show you.
<BR>
<BR> BELLOQ
<BR> No thank you, my friend.
<BR> (he glances around him)
<BR> I think we are all very comfortable
<BR> up here.
<BR>
<BR>
<BR>106 EXT. INDY\'S DIG - DAWN 106
<BR>
<BR> Sunlight is flooding this tableau: Sallah, Omar and his
<BR> men are being held at bay by ten armed Nazis. The wooden
<BR> crate sits safely nearby. Belzig and another Nazi have
<BR> the gagged Marion held in their rough grasp.
<BR>
<BR> BELLOQ
<BR> (down to Indy)
<BR> After all these years, it is most
<BR> considerate of you to aid me in
<BR> this way.
<BR>
<BR> As Belloq speaks, Shliemann exchanges a look with Belzig.
<BR> Belzig smiles and takes the gag from Marion\'s mouth.
<BR>
<BR>
<BR>107 INT. WELLS OF THE SOULS 107
<BR>
<BR> Shliemann smiles down at Indy.
<BR>
<BR> SHLIEMANN
<BR> I\'m afraid we must be going now, Dr.
<BR> Jones. Our prize is awaited in Berlin.
<BR> But I do not wish to leave you down in
<BR> that awful place...
<BR> (he give a sign)
<BR> ...all alone.
<BR>
<BR> Belzig and the Nazi move Marion to the hole and, to Belloq\'s
<BR> surprise, push her in. Marion falls thirty feet screaming.
<BR> Indy drops his torch, braces, and catches her! Her weight
<BR> knocks him to the ground, almost into the snakes. She
<BR> looks around at the snakes, clinging to him more desper-
<BR> ately as he struggles to his feet trying to unload her.
<BR>
<BR> MARION
<BR> Don\'t put me down!
<BR>
<BR> Up at the hole, there\'s plenty of dissension.
<BR>
<BR> BELLOQ
<BR> The girl was mine!
<BR>
<BR> SHLIEMANN
<BR> She is of no use to us. Only our
<BR> mission for the Fuhrer matters.
<BR>
<BR> Shliemann glances meaningfully around at the other Nazis.
<BR>
<BR> SHLIEMANN
<BR> I wonder sometimes, Monsieur, if you
<BR> have that clearly in mind.
<BR>
<BR> Belloq feels how much he is the outsider, his own vulner-
<BR> ability. He backs down with the wisdom of survival. He
<BR> turns to look down at Indy and Marion. His manner is gal-
<BR> lant.
<BR>
<BR> BELLOQ
<BR> Goodbye, mademoiselle.
<BR> (a pause, then with respect)
<BR> Indiana Jones...adieu!
<BR>
<BR> Belloq and the others step back from the hole and unseen
<BR> Nazis slam the heavy stone door into place. Marion screams.
<BR> Her scream is accompanied by--
<BR>
<BR> A huge WHOOSH! as air is sucked out and the chamber is seal-
<BR> ed. Half of the torches still burning go out with the sound.
<BR> The remaining torches continue to extinguish at punctuating
<BR> intervals throughout the following action and the snakes
<BR> immediately flood into the newly-darkened spaces. Indy
<BR> puts Marion down and snatches up two burning torches. He
<BR> hands one to Marion.
<BR>
<BR> INDY
<BR> Don\'t panic. There\'s plenty of time
<BR> for that later. Wave that at any-
<BR> thing that slithers.
<BR>
<BR> Indy holds his torch out like a lantern and begins a slow
<BR> 360o turn, his eyes peering into the gloom, examining every
<BR> inch of wall and ceiling.
<BR>
<BR> MARION
<BR> What are you doing?
<BR>
<BR> INDY
<BR> Just watch the floor.
<BR>
<BR> Reminded of the encroaching snakes, Marion waves her torch
<BR> at the nearest edge of their circle. She looks faint. In-
<BR> dy continues his slow turn.
<BR>
<BR> MARION
<BR> Whatever you\'re doing, do it faster.
<BR>
<BR> INDY
<BR> (he spots something)
<BR> There!
<BR>
<BR> His head whips around, looking at the pillars around the
<BR> room. He sees what he wants. He grabs one of the oil
<BR> canisters, looks back to the spot on the wall he\'s chosen
<BR> and splashes oil on the floor in that direction, then lights
<BR> it. A path opens toward that wall.
<BR>
<BR> INDY
<BR> Come on!
<BR>
<BR> Marion is frozen in her spot. Indy drags her after him.
<BR> He splashes oil the rest of the way to the wall. It lights
<BR> and Indy pulls Marion over to the wall. He pours the re-
<BR> maining oil in a circle around them, creating a safe zone
<BR> there.
<BR>
<BR> INDY
<BR> Stay here!
<BR>
<BR> MARION
<BR> (grabbing him)
<BR> Where are you going?
<BR>
<BR> INDY
<BR> I\'ll be back in a minute. We\'re
<BR> going through this wall.
<BR>
<BR> Marion looks at the wall, which looks like all the rest
<BR> to her. She thinks he\'s crazy.
<BR>
<BR> INDY
<BR> Just keep your eyes open and get
<BR> ready to run. No matter what happens
<BR> to me.
<BR>
<BR> MARION
<BR> (panicked)
<BR> What do you mean?
<BR>
<BR> Too late. Indy runs back through the path of flames to
<BR> the center of the room. Snakes strike at his flying heels.
<BR> Indy reaches the base of the pillar which he touched briefly
<BR> on his original descent. He uses his torch to clear
<BR> away the scattered snakes climbing on it, then pulls out
<BR> his whip. He draws it back, then wraps is solidly around
<BR> the pillar 15 feet up. With the torch in his mouth, he
<BR> begins climbing the pillar. It moves ominously under his
<BR> weight.
<BR>
<BR> The last two torches still burning on the floor go out.
<BR> Now the only light in the chamber is provided by the torches
<BR> held by Indy and Marion and the dwindling oil flames. Snakes
<BR> move in and surround the base of Indy\'s pillar. The path
<BR> between Marion and the center of the room is overrun. The
<BR> circle of flame around Marion is dying down. She looks be-
<BR> yond it with terror-widened eyes, then up through the in-
<BR> creasing smoke at the distant Indy.
<BR>
<BR> Near the top of the pillar, Indy\'s hands strain along his
<BR> taut whip, which he has moved higher. A snake slithers
<BR> into view there, inches from Indy\'s straining face. Indy
<BR> turns his head so the torch in his mouth can burn it. The
<BR> snake falls from the pillar. Indy\'s torch is dwindling.
<BR> Indy works his body around so that he is on the side of
<BR> the pilar away from Marion. The pillar moves, showering
<BR> dust. Indy looks at the chamber wall five feet away, takes
<BR> a breath and swings his legs up against it. He is now
<BR> braced between pillar and wall.
<BR>
<BR> MARION OS
<BR> (screaming)
<BR> Where are you?!
<BR>
<BR> Snakes are moving in force up the pillar toward Indy\'s
<BR> dwindling torch. Indy grasps the pillar for dear life,
<BR> grimaces with exertion and pushes against the wall with
<BR> all he\'s got. The pillar begins to break loose of the
<BR> ceiling, then stops. Indy\'s eyes are on the torch. It
<BR> is just a spot of flame now. Snakes are sliding up to-
<BR> ward his hands. Indy again pushes against the wall and
<BR> the torch falls out of his mouth.
<BR>
<BR> The pillar goes! In the dim light, we see it fall like
<BR> a tree directly at Marion. Indy rides it down. The top
<BR> hits the wall three feet from a cringing Marion and smashes
<BR> through to a black chamber beyond. Indy flies off into
<BR> the darkness. Gone. Marion clutches her torch at the
<BR> black hole.
<BR>
<BR> MARION
<BR> Indy! Where are you?! Please Lord!
<BR>
<BR> There is a moment that seems an eternity, then Indy ap-
<BR> pears like an apparition out of the void.
<BR>
<BR> INDY
<BR> Come on!
<BR>
<BR> He grabs her and helps her over the remains of the wall
<BR> into--
<BR>
<BR>
<BR>108 INT. THE CATACOMBS 108
<BR>
<BR> The winding string of connected chambers is revealed to
<BR> them only a few feet at a time as their torch lights the
<BR> way.
<BR>
<BR> MARION
<BR> The snakes...are they here?
<BR>
<BR> INDY
<BR> I guess not. I think I\'d be dead.
<BR>
<BR> MARION
<BR> Do you know where you\'re going?
<BR>
<BR> INDY
<BR> Absolutely.
<BR>
<BR> MARION
<BR> Thank god. Where?
<BR>
<BR> INDY
<BR> Out.
<BR>
<BR> They round a corner and flush a covey of bats. Marion
<BR> screams.
<BR>
<BR> INDY
<BR> Don\'t do that. It scares me.
<BR>
<BR> Marion gives him a look. They round a corner and begin
<BR> a walk through a maze of chambers that present for their
<BR> inspection: moldering mummies and stacked saracophagi;
<BR> a room decorated with a thousand human skulls; a wall
<BR> crawling with huge scarabaeid beetles. Marion is quite
<BR> naturally a nervous wreck; she jumps when Indy grabs her
<BR> suddenly and points.
<BR>
<BR> INDY
<BR> Look!
<BR>
<BR> WHAT THEY SEE. There, coming through the crack in the
<BR> corner of the next chamber, is white blessed sunlight.
<BR>
<BR>
<BR>109 EXT. THE TANIS DIGS - NEAR AIRSTRIP - DAY 109
<BR>
<BR> Indy and Marion peek out into the light from the shadows
<BR> of an abandoned excavation. Before them is the improvised
<BR> airstrip serving the digs: a crude runway, a tent supply
<BR> depot, two fuel tank trucks. Down by the fuel trucks a
<BR> German Mechanic is looking skyward. Now Indy and Marion
<BR> look there too, drawn by the roaring sound of--
<BR>
<BR> A Flying Wing, which is circling over the digs in prepar-
<BR> ation to landing.
<BR>
<BR> Now a new figure approaches the German Mechanic. It is
<BR> Gobler; he yells to the mechanic, indicating the plane.
<BR>
<BR> GOBLER
<BR> Get it gasses immediately! It has
<BR> an important cargo to take out!
<BR>
<BR> In the distance, the Flying Wing lands and rolls toward
<BR> the men. Gobler spins and heads back toward the main camp,
<BR> which is hidden from view by a rise. Indy and Marion watch
<BR> him go.
<BR>
<BR> INDY
<BR> When the Ark gets loaded, we\'re al-
<BR> ready going to be on that place.
<BR>
<BR> The Flying Wing rolls up into the space near the fuel trucks.
<BR> The German Mechanic puts blue blocks in front of the tires
<BR> as the engines continue to roar.
<BR>
<BR> Indy and Marion run in a crouch to a hiding spot closer to
<BR> the plane, near the supply tent. Suddenly, a Second German
<BR> Mechanic appears behind them. He is as surprised as they
<BR> are, but recovers quickly and swings a big monkey wrench
<BR> at Indy. Indy grabs the swinging arm and the two men tum-
<BR> ble out into the open, wrestling. Marion remains hidden,
<BR> moving fast among the crates.
<BR>
<BR> The first German Mechanic, who is just pulling the fuel hose
<BR> from the tank truck to the plane, sees the combatants and
<BR> runs to help his countryman. He is almost upon them when
<BR> Indy puts the Second German away with a devastating left--
<BR> right--left combination. He turns to find the first German
<BR> Mechanic flying at him. They roll toward the rear of the
<BR> Flying Wing and its lethally spinning reversed propellers.
<BR>
<BR> In the cockpit of the Flying Wing, the Pilot has been fid-
<BR> dling with his gauges just prior to shutting off his engines.
<BR> Now he notices the fight going on outside.
<BR>
<BR> The fistfight between Indy and the German Mechanic has taken
<BR> on a new stomach-tightening dimension. The men are fighting
<BR> and flailing in and out between the spinning props at the
<BR> back of the plane\'s wings. Each man comes within inches of
<BR> becoming instant mincemeat.
<BR>
<BR> The Pilot slides away the top of his cockpit and stands up.
<BR> He pulls a Luger from his side and points it, waiting for
<BR> a clear shot at Indy. The German Mechanic kicks Indy away
<BR> from him and the Pilot aims his pistol. Suddenly, Marion
<BR> appears behind the Pilot, standing on the opposite wing,
<BR> and bashes him over the head with one of the blue blocks
<BR> that was holding the tires. The Pilot drops down into
<BR> the cockpit, his body falling on the throttle. The engines
<BR> roar louder, revving up. The plane begins to roll, rotat-
<BR> ing around its one still-blocked set of tires. Marion grabs
<BR> onto the cockpit to keep from slipping into the props. She
<BR> bends into the cockpit, trying to pull the Pilot\'s body off
<BR> the throttle. No luck. She grimaces and climbs inside.
<BR> Her shoulder bumps the top of the cockpit; it slides tight-
<BR> ly shut above her.
<BR>
<BR> Under the moving wing, Indy delivers a knockout rightcross
<BR> to the German Mechanic which sends him staggering back to-
<BR> ward a roaring propeller. Indy\'s grimace registers the man\'s
<BR> demise and a fine mist of blood wafts toward him. Indy
<BR> spins toward the sound of crumpling metal and sees--
<BR>
<BR> The other top of the Flying Wing slice into a tank truck.
<BR> The airplane fuel inside floods out onto the pavement,
<BR> surrounding the plane. Indy backpedals away from the plane,
<BR> his eyes searching the scene for Marion. Suddenly, he is
<BR> shocked to see her in the cockpit. He runs toward her,
<BR> skidding through the gasoline.
<BR>
<BR> INDY
<BR> Get out! Get out!
<BR>
<BR> Marion is struggling with the top of the cockpit. She
<BR> can\'t budge it. She\'s trapped.
<BR>
<BR>
<BR>110 EXT. THE COMMAND TENT - DAY 110
<BR>
<BR> Three Armed Nazis stand guard around the wooden crate con-
<BR> taining the Ark. It is sitting near the flopped-open en-
<BR> trance to the Commmand Tent and there is furious activity
<BR> going on here. Belloq, Shliemann, Gobler, Belzig and as-
<BR> sorted Aides are packing up all the papers and personal
<BR> items in preparation for a hasty departure.
<BR>
<BR> A large crowd of Arab Diggers is milling about among the
<BR> tents. They all want to get a look at the Ark. Sallah is
<BR> among them. All at once, there is an earthshaking explo-
<BR> sion. All eyes turn toward the rise that hides the air-
<BR> strip. A huge fireball floats into view over there. Every-
<BR> one starts running toward it. Shliemann yells at Belzig
<BR> and the Armed Nazis.
<BR>
<BR> SHLIEMANN
<BR> Stay with the Ark!
<BR>
<BR>
<BR>111 EXT. THE RISE ABOVE AIRSTRIP - DAY 111
<BR>
<BR> Almost all the Arabs and Germans in the digs have congre-
<BR> gated here and are staring at the burning remains of the
<BR> Flying Wing. Belloq and Shliemann arrive just as the sec-
<BR> ond fuel truck blows up. The concussion knocks many of
<BR> the observers flat. Belloq, Shliemann and Gobler watch
<BR> the scene in alarm.
<BR>
<BR> SHLIEMANN
<BR> Sabotage!
<BR>
<BR> BELLOQ
<BR> We must get the Ark away from this
<BR> place immediately!
<BR>
<BR> SHLIEMANN
<BR> (to Gobler)
<BR> Have it put on the truck. We\'ll fly
<BR> out of Cairo.
<BR>
<BR> Gobler snaps his heels, turns to go.
<BR>
<BR> SHLIEMANN
<BR> And Gobler--
<BR> (Gobler stops)
<BR> -- I want plenty of protection.
<BR>
<BR> Gobler nods and runs off. Shliemann heads back toward camp.
<BR> Belloq hesitates a long moment, studying the burning wreck-
<BR> age with an odd, suspicious look. Finally, he turns and
<BR> leaves, passing a nearby stack of barrels. When he has
<BR> passed, Sallah appears from among the barrels. He searches
<BR> the crowd for his people and starts a broken field run along
<BR> some tents to avoid a group of Germans and is running flat-
<BR> out when someone sticks out a leg and sends him flipping.
<BR> Sallah, dust all over his face, looks angrily toward the
<BR> concealed culprit. At once, a flashing white grin splits
<BR> his darkened face. Indy and Marion, splotched with soot
<BR> and oil, are hiding in the flap of a tent. Sallah runs in-
<BR> to their arms and the three embrace warmly. When they break--
<BR>
<BR> SALLAH
<BR> Holy smoke, my friends! I am so
<BR> pleased you are not dead.
<BR>
<BR> MARION
<BR> Us too.
<BR>
<BR> SALLAH
<BR> (suddenly remembering)
<BR> The Ark! They\'re taking it on a
<BR> truck to Cairo.
<BR>
<BR> INDY
<BR> Where is it?
<BR>
<BR> Sallah gestures to follow and all three run off stealthily
<BR> through the mostly deserted camp.
<BR>
<BR>
<BR>112 EXT. AMONG THE TENTS - DAY 112
<BR>
<BR> Sallah, Indy and Marion run into a hiding spot behind some
<BR> water barrels near the Command Tent. They peek out at this
<BR> activity--
<BR>
<BR> In the big space near the Command Tent is parked an open
<BR> German staff car; inside is a Blond Driver and an Armed
<BR> Guard. Directly behind it is a canvas-topped troop truck.
<BR> At this moment, Belloq and Shliemann are supervising the
<BR> careful placement of the crated Ark in the back of the
<BR> truck. When it is securely placed inside, we hear an om-
<BR> inous marching sound and Nine Armed Nazis appear at a
<BR> trot from between some tents and climb into the back of the
<BR> truck with the Ark.
<BR>
<BR> Behind the water barrels, Sallah and Marion exchange hap-
<BR> less looks, But Indy just concentrates on--
<BR>
<BR> The scene by the truck: Belloq and Shliemann are about to
<BR> climb into the front staff car when they pause to check out
<BR> the final component of the convoy. Rolling into place be-
<BR> hind the truck is another open staff car. But this one is
<BR> special--mounted in the back is a big, black machine gun,
<BR> manned by a Gunner. At the wheel of the car is Gobler and
<BR> next to him sits Belzig.
<BR>
<BR> Sallah and Marion look at Indy. Belloq and Shliemann climb
<BR> in the back seat of the front car and the caravan pulls
<BR> out. Indy watches it go, thinking hard.
<BR>
<BR> INDY
<BR> You two get back to Cairo quick and
<BR> get us transporation to England--
<BR> a plane, a ship, anything.
<BR>
<BR> MARION
<BR> What about you?
<BR>
<BR> INDY
<BR> I\'m going to get that truck. I\'ll
<BR> meet you at Omar\'s. Be ready for me.
<BR>
<BR> Sallah nods. Marion looks at him like he\'s nuts. Indy jumps
<BR> up, looks around desperately.
<BR>
<BR> MARION
<BR> How are you going to get that truck?
<BR>
<BR> INDY
<BR> (still searching)
<BR> I don\'t know. I\'m making this up
<BR> as I go.
<BR>
<BR> He runs away between two tents.
<BR>
<BR>
<BR>113 EXT. AT THE EDGE OF THE DIGS - DAY 113
<BR>
<BR> From among the tents, Indy suddenly bursts into view, hap-
<BR> pily astride a magnificent white Arabian stallion. He gal-
<BR> lops off across the desert.
<BR>
<BR>
<BR>114 EXT. THE DESERT (VARIOUS SHOTS) - DAY 114
<BR>
<BR> Indy cuts crosscountry avoiding the road the convoy has
<BR> taken. He leaps gullies, climbs dunes, slides down slopes.
<BR> Soon the convoy comes into view far below him. He tears
<BR> along a parallel ridge, like an Indian shadowing a wagon
<BR> train.
<BR>
<BR>
<BR>115 EXT. DESERT ROAD - DAY 115
<BR>
<BR> The convoy is entering rougher country. The narrow moun-
<BR> tain road we\'ve seen earlier ascends ahead. To the side
<BR> of the road are tall boulders. Suddenly, Indy shoots out
<BR> from between two rocks and rides directly for the truck.
<BR> The Armed Nazis in the back of the truck can see nothing
<BR> because the canvas hides their view. But Gobler, Belzig
<BR> and the Gunner in the rear staff car have a brief line on
<BR> him. Belzig points and the Gunner fires away at Indy, the
<BR> bullets kicking up sand near Indy\'s horse.
<BR>
<BR> The Armed Guard in the cab of the truck leans out to see
<BR> what\'s happening. Indy has been riding alongside. Now
<BR> he stands on the horse and leaps to the cab. In a second,
<BR> he has flipped the Armed Guard out of the truck. He slides
<BR> into the cab and begins grappling with the Truck Driver.
<BR> The Truck Driver tries to hit the brakes, but Indy kicks
<BR> his foot away and floors the gas pedal. The truck doubles
<BR> its speed and shoots onto the steep mountain road.
<BR>
<BR>
<BR>116 EXT. MOUNTAIN ROAD - DAY 116
<BR>
<BR> The Blond Driver of the front staff car sees the truck move
<BR> up on him in the rearview mirror and speeds up. Belloq,
<BR> Shliemann and the Armed Guard in the car twist around to
<BR> look at the struggle in the truck. The Blond Driver begins
<BR> what will be a continuing preview of the twists in the road.
<BR> He turns his wheel sharply and takes the lead car around
<BR> a bend.
<BR>
<BR> In the cab of the truck, Indy and the Truck Driver stop
<BR> their fight temporarily and cooperate in turning the steer-
<BR> ing wheel. The truck barely stays on the road.
<BR>
<BR> A full view reveals the incredible geography of this ride.
<BR> The convoy is tiny against the spectacular mountainside,
<BR> the cliffs drop hundreds of feet.
<BR>
<BR> At the wheel of the rear car, Gobler swerves to stay on
<BR> the road and accidently sideswipes a boulder. The Gunner
<BR> perched in the back is flipped head over heels out of the
<BR> car. Gobler and Belzig are having trouble seeing the road
<BR> through all the dust the convoy is kicking up.
<BR>
<BR> The lead staff car reaches the summit of the road and bare-
<BR> ly makes the hairpin turn there, delivering a destructive
<BR> blow to the guard rail that has been placed there. The
<BR> guard rail is now bent.
<BR>
<BR> In the cab of the truck, Indy and the Truck Driver again
<BR> stop trying to choke each other long enough to negotiate
<BR> the turn together. The bumper of the truck hits the bro-
<BR> ken guard rail and sends it flying off the cliff. The
<BR> truck, however, holds the road.
<BR>
<BR> In the rear car, Gobler and Belzig are trying to see through
<BR> the thick clouds of dust. Suddenly it clears completely.
<BR> Unfortunately for them, this happens because their car
<BR> has shot out into space at the hairpin turn. They are
<BR> flying to their final reward. Belzig, eyes wide behind
<BR> his evil spectacles, screams as he goes.
<BR>
<BR> In the cab of the truck, the Truck Driver is distracted
<BR> by the sight of the flying staff car. Indy plasters him
<BR> and he tumbles out.
<BR>
<BR> Far, far below, Belzig\'s staff car explodes on the rocks.
<BR>
<BR> In the back of the truck, a TOUGH SERGEANT takes command
<BR> of the situation. He picks out six Armed Nazis and motions
<BR> for them to start climbing around the outside of the
<BR> truck to the cab. With some trepidation the lucky ones
<BR> begin that maneuver. The truck is swerving like crazy.
<BR>
<BR> In the front staff car, the Armed Guard aims his submachine
<BR> guns back at Indy, alone now in the truck\'s cab. Shliemann
<BR> knocks the barrel roughly away.
<BR>
<BR> SHLIEMANN
<BR> (yelling)
<BR> If anything happens to that Ark,
<BR> we\'re all dead men! The Fuhrer
<BR> will see to it!
<BR>
<BR> Indy sees this from the cab and reacts by speeding up, put-
<BR> ting even more pressure on the Blond Driver.
<BR>
<BR> Along the back of the truck, Armed Nazis are edging up to-
<BR> ward the cab, three on each side. They hang on as the
<BR> truck rounds a corner and goes into a straightaway that
<BR> leads through a short tunnel.
<BR>
<BR> In the cab, Indy has been concentrating on the lead staff
<BR> car. Now, just before entering the tunnel, he looks in
<BR> the side view mirror and sees the Nazis on his side. A
<BR> quick glance to the other mirror reveals the others. As
<BR> the truck sweeps into the tunnel, we see Indy just start
<BR> to turn his steering wheel--he is going to sideswipe the
<BR> walls of the tunnel.
<BR>
<BR> At the other end of the tunnel, we hear the roar of the
<BR> two engines and two long, screeching, scraping sounds. The
<BR> lead staff car shoots out of the tunnel, then the truck,
<BR> its sides cleaned of Nazis.
<BR>
<BR> In the rear of the truck, the Tough Sergeant is looking
<BR> with distaste back at the tunnel. There remains only him
<BR> and two Armed Nazis with the Ark. He sends these two climb-
<BR> ing up over the top of the truck.
<BR>
<BR> In the lead car, the Blond Driver is being pressed hard
<BR> by Indy, who now edges up to bump them from the rear. Sud-
<BR> denly the Armed Guard next to the Driver sees the two Armed
<BR> Nazis appear on the top of the truck. Without thinking,
<BR> he starts to point them out to Shliemann, then realizes
<BR> his stupidity.
<BR>
<BR> In the cab, Indy has seen this and is at first mystified.
<BR> He checks his sideview mirrors. Then he figures it out
<BR> and slams on his brakes. The brakes lock, the wheels burn
<BR> and the truck skids to a dusty halt. The two Armed Nazis
<BR> fly off the truck, over the cab to the road in front.
<BR> Indy immediately hits the gas again. The two Armed Nazis,
<BR> just aiming their weapons, get wiped out.
<BR>
<BR> In the rear of the truck, the crated Ark is bouncing all
<BR> along, no one in sight, because--
<BR>
<BR> The Tough Sergeant is on the top of the truck, making his
<BR> way steadily forward. This guy clearly knows what he\'s
<BR> doing. A submachine gun is slung across his back.
<BR>
<BR> The truck and the staff car race through a series of
<BR> S-curves. In the staff car, Belloq and Shliemann spot the
<BR> Tough Sergeant as he reaches the front of the truck\'s top
<BR> and begins to lower his submachine gun barrel toward the
<BR> cab. Indy is unaware. Belloq and Shliemann exchange looks.
<BR> Then Shliemann yells to the Armed Guard in the front seat.
<BR>
<BR> The Tough Sergeant has a line on Indy. He points his gun.
<BR> The Armed Guard blasts away at the truck. The Tough Ser-
<BR> geant dies in a hail of bullets and flies off.
<BR>
<BR> Indy, who has ducked at the gunfire, is confused. But when
<BR> he sees the Armed Guard up front lower his gun, Indy again
<BR> floors it and begins bumping the staff car in earnest.
<BR>
<BR> The road is almost down to a level now. In the distance--
<BR> Cairo. The road takes a little dogleg just before reach-
<BR> ing level ground again. Just as the staff car is about to
<BR> make the turn, Indy smashes them from behind. The staff
<BR> car flies off the road and down a twenty foot embankment.
<BR> Indy takes the truck speeding down the road and off toward
<BR> Cairo.
<BR>
<BR> In the staff car, the occupants are bruised but safe.
<BR> Shliemann points at the departing truck and yells at the Blond
<BR> Driver. The staff car fishtails out of its sandy resting
<BR> place and takes off after the truck.
<BR>
<BR>
<BR>117 EXT. OUTSKIRTS OF CAIRO (VARIOUS SHOTS) - DAY 117
<BR>
<BR> Indy has an ever-decreasing lead on the staff car as the
<BR> race thunders into the narrow streets. People and animals
<BR> leap out of the way; carts and barrels go flying helter
<BR> skelter. Indy takes the truck down a street so narrow
<BR> there are only inches to spare on each side. Pedestrians
<BR> jump into doorways.
<BR>
<BR>
<BR>118 EXT. OMAR\'S SQUARE - DAY 118
<BR>
<BR> When the truck clears the narrow street, it is in a small
<BR> square. Omar\'s garage is gaping open on the opposite side.
<BR> Indy hits the brakes and the truck skids across the square
<BR> and into the garage. The garage door slams shut and tent-
<BR> ing drops from the building to hide the door. Various arabs,
<BR> friends of Omar, rush out with fruit carts and baskets
<BR> and set up a mini-bazaar in seconds. Two Arab Boys sweep
<BR> the tracks of the truck into oblivion. They throw aside
<BR> their brooms just as the staff car appears from the narrow
<BR> street. Belloq and Shliemann look around desperately as
<BR> the Blond Driver steers the car through the square and out
<BR> the other side.
<BR>
<BR>
<BR>119 EXT. CAIRO DOCKS - NIGHT 119
<BR>
<BR> The waterfront is dark and misty. An old tramp steamer,
<BR> THE BANTU WIND, sits by the pier. Several fierce Black
<BR> African Pirates, the crewmembers, are taking on final
<BR> stores.
<BR>
<BR> A small light illuminates the top of the gangplank. In
<BR> its circle, Indy and Marion exchange long, warm embraces
<BR> with Sallah. A short distance away the ship\'s Captain, a
<BR> handsome, powerful black named SIMON KATANGA, watches from
<BR> the rail, smoking a pipe.
<BR>
<BR> DISSOLVE TO:
<BR>
<BR>120 EXT. OPEN SEA - THE MEDITERRANEAN - NIGHT 120
<BR>
<BR> The Bantu Wind is bathed in moonlight as it cuts across
<BR> even seas.
<BR>
<BR>
<BR>121 INT. INDY\'S CABIN - NIGHT 121
<BR>
<BR> Indy comes in, takes off his hat, jacket, whip and holster.
<BR> The door which connects this cabin to the next opens and
<BR> Marion appears. She is carrying a half-full glass of
<BR> liquor, but what you notice is the long, snow-white, high-
<BR> necked nightgown she is wearing. It is very prim. Very
<BR> innocent. And very sexy. Marion does a slightly embarrassed
<BR> model\'s turn for Indy.
<BR>
<BR> MARION
<BR> I have a feeling I\'m not the first
<BR> woman to travel with these pirates.
<BR> There\'s a whole wardrobe in there.
<BR>
<BR> INDY
<BR> It\'s lovely.
<BR>
<BR> Indy sits on the cot, takes off his boots. He leans back
<BR> against the wall and rubs his eyes. Marion sits on the
<BR> bed, leans back against the wall with him and looks down
<BR> at her white nightgown. She chuckles.
<BR>
<BR> MARION
<BR> I feel like a virgin bride in this.
<BR>
<BR> INDY
<BR> That\'s what you look like.
<BR>
<BR> MARION
<BR> (takes a drink)
<BR> There are some things you can recap-
<BR> ture in this life, but that isn\'t
<BR> one of them.
<BR>
<BR> INDY
<BR> What would you like to recapture?
<BR>
<BR> MARION
<BR> (after a long pause)
<BR> Nothing. That is the way it is.
<BR>
<BR> He watches her closely as she drains her glass and puts
<BR> it down.
<BR>
<BR> INDY
<BR> Did I ever say I was sorry I burned
<BR> down your tavern?
<BR>
<BR> She turns so their lips are very close.
<BR>
<BR> MARION
<BR> No. Then again, I burned up that
<BR> plane.
<BR>
<BR> INDY
<BR> You saved my life.
<BR>
<BR> MARION
<BR> And you saved mine.
<BR>
<BR> INDY
<BR> Seems things have worked out kind of
<BR> even.
<BR>
<BR> MARION
<BR> That\'s the way I like them.
<BR>
<BR> INDY
<BR> Maybe we should consider all past
<BR> accounts closed.
<BR>
<BR> Marion thinks about this a long time.
<BR>
<BR> MARION
<BR> No. Not yet.
<BR>
<BR> INDY
<BR> What else?
<BR>
<BR> She looks into his eyes. A smile jumps from her lips to
<BR> his. He kisses her and they sink slowly to the cot.
<BR>
<BR>
<BR>122 INT. IN THE HOLD 122
<BR>
<BR> The ship\'s rats are agitated. They tremble and chitter
<BR> at the edges of the compartment, darting about. Out in
<BR> the center of the hold, sitting all by itself, is the
<BR> crated Ark. HUM-M-M-M.
<BR>
<BR>
<BR>123 INT. INDY\'S CABIN - DAY 123
<BR>
<BR> Marion awakes with a start, alone in the cot. Something\'s
<BR> wrong. The ship is quiet. Indy is strapping on his holster.
<BR> He pulls his whip and jacket from a hook.
<BR>
<BR> MARION
<BR> What is it?
<BR>
<BR> INDY
<BR> The engines have shut down.
<BR>
<BR> MARION
<BR> Why?
<BR>
<BR> INDY
<BR> I\'m going to find out.
<BR>
<BR>
<BR>124 EXT. LOWER DECK - DAY 124
<BR>
<BR> Indy runs toward the bow, then climbs some steps four at
<BR> a time. A MESSENGER PIRATE is hurrying to get him, but
<BR> flies by him on the steps. By the time the Pirate stops
<BR> himself, Indy is gone.
<BR>
<BR> MESSENGER PIRATE
<BR> Mister Jones! The Captain he say--
<BR>
<BR>
<BR>125 EXT. THE BRIDGE - DAY 125
<BR>
<BR> Captain Katanga is looking with concern ahead of the ship.
<BR> Indy appears behind him.
<BR>
<BR> INDY
<BR> What\'s wrong?
<BR>
<BR> KATANGA
<BR> You have most important friends.
<BR>
<BR> Katanga turns quickly, pointing with a sweeping hand. Indy
<BR> looks. Arrayed in a rough semicircle around the ship are
<BR> ten German Wolf Submarines. All of their deck guns are
<BR> manned and trained on the Bantu Wind. Worse, at least five
<BR> heavily-armed boarding parties in raf
CCG

duce87
Messaggi: 34
Iscritto il: 01 gen 1970, 01:00
Località: Predappio

Messaggio da duce87 » 01 gen 1970, 01:33

KATANGA
<BR> You have most important friends.
<BR>
<BR> Katanga turns quickly, pointing with a sweeping hand. Indy
<BR> looks. Arrayed in a rough semicircle around the ship are
<BR> ten German Wolf Submarines. All of their deck guns are
<BR> manned and trained on the Bantu Wind. Worse, at least five
<BR> heavily-armed boarding parties in rafts are closing quickly
<BR> on the ship.
<BR>
<BR> INDY
<BR> Holy shit.
<BR>
<BR> KATANGA
<BR> (fast)
<BR> I sent my man for you. You and the
<BR> girl must disappear. We have a place
<BR> in the hold. Go, my friend!
<BR>
<BR>
<BR>126 EXT. UPPER DECK - DAY 126
<BR>
<BR> Indy tears along the deck. He looks over the rail and
<BR> sees two Nazi rafts already next to the ship.
<BR>
<BR>
<BR>127 EXT. LOWER DECK - DAY 127
<BR>
<BR> Indy flies down some stairs and starts to round a corner.
<BR> Suddenly he throws himself backwards, out of view. Three
<BR> uniformed Nazis are clustered near a cabin door holding
<BR> the Messenger Pirate. Now two more come out of the cabin
<BR> trying to maintain their grasp on a kicking, yelling Marion.
<BR> She is still wearing her white nightgown. More Nazis clam-
<BR> ber onto the deck and head toward Indy, slamming open doors,
<BR> rousting Pirates, spouting racial epithets. Indy steps
<BR> backwards and fades into the maze of the ship.
<BR>
<BR>
<BR>128 EXT./INT. THE BANTU WINDS (VARIOUS SHOTS) - DAY 128
<BR>
<BR> The ship is swarming with Nazis. The Black Pirates are
<BR> herded forward, subjected to rough physical and verbal
<BR> abuse by the Aryan Supermen. The Pirates are clearly
<BR> under orders not to resist, but not one of these strong
<BR> men likes it. They\'d gladly give their lives to rip the
<BR> throat out of a few Krauts. In the hold, the door slams
<BR> open and Nazis pour in; they smile at the sight of the
<BR> crated Ark.
<BR>
<BR>
<BR>129 EXT. THE BRIDGE - DAY 129
<BR>
<BR> Captain Katanga watches as his crew is crowded into a cir-
<BR> cle of Nazis on the wide deck below him. He is surrounded
<BR> by Belloq, Shliemann, and several Nazis, two of whom are
<BR> holding Marion. Now the Nazis from the hold appear on the
<BR> lower deck carrying the crated Ark by means of the long
<BR> poles. Belloq\'s eyes shine at the sight.
<BR>
<BR> SHLIEMANN
<BR> Take it aboard the Wurrfler!
<BR>
<BR> BELLOQ
<BR> And be very careful!
<BR>
<BR> The Ark is taken away.
<BR>
<BR> SHLIEMANN
<BR> (to a Sergeant below)
<BR> What about Jones?
<BR>
<BR> SERGEANT
<BR> Not a trace yet, sir!
<BR>
<BR> KATANGA
<BR> Jones is dead.
<BR>
<BR> Belloq and Shliemann regard him suspiciously.
<BR>
<BR> KATANGA
<BR> We killed him. He was of no use to
<BR> us. The girl, however, has certain
<BR> value where we are headed. She will
<BR> bring a very good price. If that
<BR> cargo you have taken was your goal,
<BR> then go in peace with it. But leave
<BR> us the girl. It will reduce our loss
<BR> on this trip.
<BR>
<BR> SHLIEMANN
<BR> Savage. You are not in a position
<BR> to ask for anything. We will take
<BR> what we wish and then decide whether
<BR> or not to blow your ship from the
<BR> water.
<BR>
<BR> Belloq steps forward and puts a proprietary hand on Marion\'s
<BR> arm, fixing Shliemann with a steady look.
<BR>
<BR> BELLOQ
<BR> That girl goes with me. It will be
<BR> part of my compensation. I\'m sure
<BR> the Fuhrer would approve.
<BR>
<BR> Shliemann considers.
<BR>
<BR> BELLOQ
<BR> If she fails to please me, you can
<BR> do with her as you wish.
<BR>
<BR> This appeals to Shliemann\'s nature. He signals his agree-
<BR> ment with a gesture. Belloq ushers Marion away with her
<BR> two keepers.
<BR>
<BR> DISSOLVE TO:
<BR>
<BR>
<BR>130 EXT. \"THE WURRFLER\" - CONNING TOWER - DAY 130
<BR>
<BR> The Nazis have returned to their subs. Shliemann is on
<BR> the bridge with THE WURRFLER\'S CAPTAIN and the Captain\'s
<BR> Aides. The Captain is an honorable career Navy man.
<BR>
<BR> THE WURRFLER\'S CAPTAIN
<BR> Colonel Shliemann, all torpedoes
<BR> are loaded.
<BR>
<BR> Shliemann nods and continues to stare at the Bantu Wind,
<BR> as does the Captain. The Pirate crew is all lined across
<BR> the bow. Towering above the others, standing on the rail,
<BR> proud and defiant, is Katanga. Shliemann looks at the
<BR> Wurrfler\'s Captain a moment.
<BR>
<BR> SHLIEMANN
<BR> What do you think, Captain?
<BR>
<BR> THE WURRFLER\'S CAPTAIN
<BR> (earnestly)
<BR> I think not, Colonel. Nothing is
<BR> to be gained. We are not at war.
<BR>
<BR> Shliemann mulls this, then turns to the hatch.
<BR>
<BR> SHLIEMANN
<BR> ...yet. Let the vermin live. We
<BR> must be on our way.
<BR>
<BR> Shliemann disappears down the hatch. The Captain is very
<BR> pleased. A Radioman speaks into his headset, then follows
<BR> the other Aides down the hatch. In the distance the other
<BR> subs begin to move away from the ship. The Captain, alone
<BR> on the bridge, looks once more at Katanga.
<BR>
<BR> On the Bantu Wind, Katanga executes what might be taken
<BR> for a salute.
<BR>
<BR> The Wurrfler\'s Captain smiles, salutes crisply, then goes
<BR> below, pulling the hatch closed. Immediately, the Wurrfler
<BR> begins to move. And as it does, we see the rail at the aft
<BR> of the main deck. From nowhere, a wet sleeve appears and
<BR> a hand grabs the rail!
<BR>
<BR> Indy pulls his dripping body onto the sub\'s main deck. He
<BR> has lost his felt hat once and for all. Other than that,
<BR> his outfit is the same as always, just wetter. Suddenly,
<BR> water is washing over his feet; the Wurrfler is beginning
<BR> to submerge. Indy runs through quickly deepening water
<BR> toward the haven of the conning tower. Halfway there, he
<BR> slips and goes down. Only by grabbing the base of the
<BR> aftmast light does he keep from being swept away. He strug-
<BR> gles to his feet and sloshes through knee-deep water to the
<BR> base of the conning tower.
<BR>
<BR> Indy climbs the ladder to the bridge of the conning tower
<BR> and looks down. The water is rising toward him fast. Indy
<BR> climbs the ladder to the top of the turret and braces him-
<BR> self between the two uprights there--the 7 foot radio mast
<BR> and the 20 foot periscope. Still the ocean comes up to
<BR> meet him. Soon the top of the turret is under water and
<BR> the radio mast is disappearing. Indy shifts his grip to
<BR> the periscope, working his way up it and hanging on for
<BR> dear life as the ocean whips at his body. The periscope is
<BR> quickly going under. Indy hangs on to the top three feet,
<BR> all that remains above.
<BR>
<BR> The forward movement of the sub continues, but, to Indy\'s
<BR> slowly dawning delight, the dive stops. No more of the
<BR> periscope goes under. Indy smiles; it\'s a pretty good
<BR> smile, too, given the circumstances. Indy pulls out his
<BR> bullwhip and begins tying himself to the periscope.
<BR>
<BR>
<BR>131 EXT. THE PERISCOPE - AFTERNOON 131
<BR>
<BR> The sun warms that part of his body Indy has contrived to
<BR> keep out of the water. The rest floats out behind. Indy
<BR> isn\'t comfortable, but all in all, it\'s not as terrible
<BR> as he might have feared.
<BR>
<BR> DISSOLVE TO:
<BR>
<BR>
<BR>132 EXT. THE PERISCOPE - DUSK 132
<BR>
<BR> It\'s as terrible as Indy might have feared. He looks
<BR> wasted. Waterlogged and exhausted. The wet leather of
<BR> the whip is contracting and he must struggle constantly
<BR> to keep it from cutting into his skin.
<BR>
<BR> DISSOLVE TO:
<BR>
<BR>
<BR>133 EXT. THE OCEAN - NIGHT 133
<BR>
<BR> Several shark fins cut the surface, appearing and disap-
<BR> pearing in the bright moonlight. They are shadowing--
<BR>
<BR>
<BR>134 EXT. THE PERISCOPE - NIGHT 134
<BR>
<BR> Indy looks through barely open eyes at the sharks running
<BR> alongside. There is nothing to be done. His eyes close.
<BR>
<BR> FADE OUT.
<BR>
<BR> FADE IN:
<BR>
<BR>
<BR>135 EXT. THE PERISCOPE - NIGHT 135
<BR>
<BR> The submarine has stopped. The water is calm. The moon
<BR> is bright. A gentle swell splashes Indy awake. He blinks,
<BR> tries to regain his senses. He makes an inventory of his
<BR> body. Surprised to find himself intact, his spirits lift.
<BR> Some hidden reserve of energy flows through him. He frees
<BR> his aching arms from the wet leather of his whip, leaving
<BR> only one loop around his waist to hold him to the sub. He
<BR> rubs his hands and stretches. Once again, he has survived.
<BR> To fight again. He looks around.
<BR>
<BR> WHAT HE SEES. A lovely island. No sign of man\'s presence.
<BR> The sub has stopped at the mouth of a wide cove completely
<BR> ringed by tall white rock cliffs. Suddenly the sub begins
<BR> to move again. It is headed directly toward the center of
<BR> the cliffs. Indy holds on, mystified, alert. When the
<BR> cliffs are very close, the sub begins to dive.
<BR>
<BR> INDY
<BR> Damn!
<BR>
<BR> He thinks hard. Inspiration hits just before the water.
<BR> Indy flips his leather jacket up over his head and holds
<BR> the jacket out in front of him. His head is hidden by the
<BR> jacket as he goes under water.
<BR>
<BR>
<BR>136 INT. THE UNDERWATER TUNNEL - NIGHT 136
<BR>
<BR> The sub enters an underwater tunnel that penetrates into
<BR> the cliffs. Indy is held to the periscope by his crossed
<BR> legs and the whip. His impromptu air bubble is working,
<BR> but it\'s a struggle to maintain it.
<BR>
<BR> The sub begins to cut through thick marine vegetation.
<BR> Each dangling growth pulls at Indy\'s body and slaps at his
<BR> leather bubble. Now a clump of entwined seaweed rips the
<BR> leather out of his hands and his bubble of air rises away.
<BR> Indy hangs on, holding his breath, but the vegetation gets
<BR> denser. Finally, it pulls him off the periscope. The
<BR> sub moves on, disappearing ahead.
<BR>
<BR> Indy rises desperately through the dark water, his hand
<BR> outstretched. Then, almost simultaneously, hand and head
<BR> hit solid rock. But no air. Indy feels along the ceiling
<BR> of rock. Nothing. It\'s all submerged.
<BR>
<BR> Indy dives, stroking deep into the tunnel. When he has
<BR> descended 15 feet, he grabs a vine and steadies himself.
<BR> His eyes search the dim roof of the tunnel. He sees his
<BR> last hope in the distance--a small blue circle, an air
<BR> pocket. He swims for it.
<BR>
<BR> In the air pocket, Indy\'s head breaks the surface and
<BR> smashes into rock again. The pocket is only six inches
<BR> deep. No matter. Indy loves it. He\'d like to move in.
<BR> He gulps air.
<BR>
<BR>
<BR>137 INT. THE SUB BASE - DOCKING BAY 137
<BR>
<BR> The Wurrfler has arrived at an extraordinary base built
<BR> in the hollow interior of the island. This chamber, with
<BR> the docking bay, is almost all water. A huge natural cav-
<BR> ern, it has been reinforced and enlarged by the Germans.
<BR>
<BR> The Wurrfler sits surfaced at the dock. The Ark has been
<BR> unloaded and placed on a cart. Shliemann, Belloq and Marion
<BR> have just disembarked and been met by a Nazi contingent
<BR> from the base. Marion looks worse for the trip. Her white
<BR> nightgown is now ripped and smudged.
<BR>
<BR> One of the greeting Nazis, a TALL CAPTAIN, salutes Shlie-
<BR> mann and Belloq. As he speaks to them, we notice that right
<BR> behind this group, just above a great deal of sub unloading
<BR> activity, Indy\'s whip hangs from the periscope. Working
<BR> Nazis pass within feet of it unaware; the Tall Captain would
<BR> see it in a moment if he were not so focused on the new
<BR> arrivals.
<BR>
<BR> TALL CAPTAIN
<BR> (to Belloq)
<BR> The tents have been arranged in accor-
<BR> dance with your radioed instructions,
<BR> sir.
<BR>
<BR> BELLOQ
<BR> Good. We must take the Ark there now.
<BR>
<BR> Shliemann looks a little unhappy about this exchange, but
<BR> says nothing. The group moves swiftly toward the
<BR> end of a mine train arrangement. The train, consisting
<BR> of small, separate, electric-powered cars, sits on a track
<BR> which disappears into a tunnel cut in the rock.
<BR>
<BR> On the turret of the Wurrfler, the Wurrfler\'s Captain lights
<BR> a cigarette as he watches the mine train disappear, then
<BR> returns his attention to the activity on the dock. He leans
<BR> idly against the periscope, his head two feet below Indy\'s
<BR> dangling whip. Something catches his eye, he yells an or-
<BR> der and climbs down from the turret to deal with the matter.
<BR> We hold on the whip for a long moment, until its owner\'s
<BR> hand appears and quickly reclaims it.
<BR>
<BR>
<BR>138 INT. TRAIN TUNNEL 138
<BR>
<BR> The Ark and its entourage are moving slowly up the tight
<BR> dark tunnel, their way lit by intermittent lanterns. The
<BR> tunnel is irregular, but generally about 7 feet wide. It\'s
<BR> height varies from an average of about 7 feet to a low of
<BR> only about 4.5 feet at the points (every 40 feet) where sup-
<BR> port beams cross the track. The result is that there is
<BR> only about a foot of clearance above the mine cars at those
<BR> points; passengers must duck to keep from being hit in the
<BR> head. Shliemann, looking worried, and Belloq, very excited,
<BR> are focused on the Ark in the car ahead.
<BR>
<BR> SHLIEMANN
<BR> I am uncomfortable with the thought
<BR> of this--
<BR> (spitting it out)
<BR> --Jewish ritual. Are you sure it\'s
<BR> necessary?
<BR>
<BR> BELLOQ
<BR> (playing him)
<BR> Let me ask you this--Would you be
<BR> more comfortable opening the Ark in
<BR> Berlin--for the Fuhrer--and finding
<BR> out only then if the sacred pieces
<BR> of the Covenant are inside? Knowing,
<BR> only then, whether you have accom-
<BR> plished your mission and obtained the
<BR> one, true Ark?
<BR>
<BR> Shliemann doesn\'t like any of his alternatives. He looks at
<BR> Belloq with some suspicion as the train comes into bright light.
<BR>
<BR>
<BR>139 INT. COMMAND CENTER 139
<BR>
<BR> A second natural cavern, even bigger than the first, has been
<BR> worked over by the Germans into a rectangular, three-story
<BR> high supply center around a huge, open, center court. Uni-
<BR> formed Nazi Soldiers are everywhere, wrangling supplies and
<BR> ammunition, monitoring electronic equipment. At the far end
<BR> of the court, a second train tunnel disappears into the rock.
<BR>
<BR> Across the open court, Belloq sees his destination: a large,
<BR> brilliant white silk tent has been erected in the midst of
<BR> all this hardware. It looks incongruous, and more than a
<BR> little eerie. It is the Tabernacle.
<BR>
<BR>
<BR>140 INT. TRAIN TUNNEL 140
<BR>
<BR> Indy is making his way up the tunnel. He hears cars coming
<BR> from up ahead and steps into the shadows. A mine car passes
<BR> with several laughing Nazis. Indy continues on his way.
<BR>
<BR>
<BR>141 INT. THE TABERNACLE 141
<BR>
<BR> The light in here is lovely, unearthly. Oil lamps burn.
<BR> The Tabernacle is really several concentric, silk tents,
<BR> which creates a flowing maze effect. The innermost tent
<BR> has at its center a 3-foot high, tapestry-covered altar.
<BR> Belloq watches with gleaming, obsessed eyes as two Nazis
<BR> carefully lift the actual Ark out of its crate by means
<BR> of the long poles. The Ark dazzles the eye, seeming to
<BR> glow gold in this strange light. The two Nazis place it
<BR> carefully on the altar. Shliemann and some Aides hang
<BR> back. Marion is nowhere to be seen.
<BR>
<BR>
<BR>142 INT. COMMAND CENTER - END OF TUNNEL 142
<BR>
<BR> Indy makes a fast break from the shadows of the tunnel to
<BR> the protection of a high stack of supplies. He climbs the
<BR> back of the stack, peeks over and surveys the area.
<BR>
<BR> WHAT HE SEES. In addition to the Tabernacle, the second
<BR> train tunnel entrance, and all the activity, Indy\'s glance
<BR> rests momentarily on a large, heavy metal door halfway
<BR> down one wall toward the Tabernacle. It bears the words,
<BR> in German: DANGER - MUNITIONS.
<BR>
<BR> Indy continues to scan the scene.
<BR>
<BR>
<BR>143 INT. THE TABERNACLE 143
<BR>
<BR> In the central area with the Ark, Shliemann and the other
<BR> Nazis wait impatiently, eyeing the Ark with some discom-
<BR> fort. Belloq is not visible, because at the moment he is--
<BR>
<BR> In the folds of the Tabernacle, the silk of the tents un-
<BR> dulating around him. The light is even stranger, the scene
<BR> almost dreamlike. With the help of the Tall Captain, Belloq
<BR> lets an extraordinary, gold-embroidered, ceremonial robe
<BR> fall over his head and onto his body. Belloq looks trans-
<BR> ported, possessed. The Tall Captain unlatches a wooden case
<BR> and takes from it a sturdy ivory rod about 5 feet long, elab-
<BR> orately engraved. Belloq takes it from him, turns and slips
<BR> back through the silk. The Tall Captain stays in the folds.
<BR>
<BR> Back in the central area, Shliemann and the other Nazis are
<BR> taken aback by Belloq\'s appearance in the robe. They ex-
<BR> change looks. From one knot of men there is muttering about
<BR> \"Juden\" and such, but when Belloq turns a fiery gaze on them
<BR> there is immediate silence. Shliemann looks uncertain in
<BR> this presence.
<BR>
<BR> Belloq approaches the Ark. He stops a few feet from it and
<BR> begins murmuring an invocation in Hebrew. After a few mo-
<BR> ments of this he advances a step and is about to place the
<BR> ivory rod in a notch under the lid of the Ark itself. The
<BR> end of the rod is an inch from the notch when--
<BR>
<BR> Indy steps into the Tabernacle. On his shoulder is a ba-
<BR> zooka and it is aimed directly at the Ark.
<BR>
<BR> INDY
<BR> Hold it.
<BR> (the Nazis react)
<BR> One move from anybody and I blow
<BR> that box back to Moses.
<BR>
<BR> Shliemann makes it clear to the other Nazis that Indy is
<BR> to be obeyed.
<BR>
<BR> BELLOQ
<BR> Jones, your persistence surprises
<BR> even me. You are going to give
<BR> mercenaries a bad name.
<BR>
<BR> INDY
<BR> What about you? Talked to God yet?
<BR> (Belloq\'s eyes flash)
<BR> Where\'s the girl?
<BR>
<BR> SHLIEMANN
<BR> Doctor Jones, surely you don\'t think
<BR> you can escape from this base.
<BR>
<BR> INDY
<BR> That depends on how reasonable we\'re
<BR> all willing to be. All I want is
<BR> the girl. We\'ll keep possession of
<BR> the Ark only till we\'ve got safe
<BR> transport to England. Then it\'s
<BR> all yours.
<BR>
<BR> SHLIEMANN
<BR> If we refuse?
<BR>
<BR> INDY
<BR> Then the Ark and some of us are go-
<BR> ing up in a big bang. I don\'t think
<BR> Hitler would like that a bit. Now
<BR> I don\'t want to talk about this any-
<BR> more. Show me that girl in five
<BR> seconds or--
<BR>
<BR> The Tall Captain flies out of the silk and takes Indy down
<BR> by the neck. The bazooka clatters across the cement floor
<BR> as two other Nazis help subdue Indy. The three Nazis take
<BR> Indy\'s pistol from his holster and raise him roughly in
<BR> their grasp.
<BR>
<BR> SHLIEMANN
<BR> Jones, this is the second time I
<BR> have seen you looking very foolish.
<BR>
<BR> INDY
<BR> It\'s a bad habit. I\'m trying to
<BR> break it.
<BR>
<BR> Shliemann draws his Luger.
<BR>
<BR> SHLIEMANN
<BR> I\'ll help you. This time I\'ll kill
<BR> you myself.
<BR>
<BR> Shliemann raises the pistol.
<BR>
<BR> BELLOQ
<BR> No! Not in the presence of the Ark!
<BR> Take him outside.
<BR>
<BR> Shliemann eyes Belloq, then the Ark. He lowers the pistol,
<BR> motions for the Nazis to take Indy out ahead of him. They
<BR> stop a moment only when Belloq speaks.
<BR>
<BR> BELLOQ
<BR> Indiana Jones, I salute you. I am
<BR> even a little sorry you will miss
<BR> this moment.
<BR>
<BR> INDY
<BR> Thanks. If you talk to Him, tell
<BR> Him I\'m on my way up.
<BR>
<BR> Shliemann motions them out and follows. Belloq turns back
<BR> to the Ark, raising the ivory rod.
<BR>
<BR>
<BR>144 INT. COMMAND CENTER 144
<BR>
<BR> Shliemann, the Tall Captain, Indy and the two Nazis hold-
<BR> ing him emerge from the Tabernacle. Shliemann points to
<BR> a nearby wall and the group starts that way with Shlie-
<BR> mann and the Tall Captain slightly ahead.
<BR>
<BR>
<BR>145 INT. THE TABERNACLE 145
<BR>
<BR> Belloq has the ivory rod inserted in the notch under the
<BR> lid of the Ark. He utters a short phrase in Hebrew and
<BR> begins to press down on his end of the rod. The lid of
<BR> the Ark begins to lift. It\'s difficult work. Belloq puts
<BR> his whole weight into one big press on his end and the
<BR> lid opens two feet.
<BR>
<BR> Inside the Ark of the Covenant is a preview of the end of
<BR> the world. A light so bright, a power so fearsome, a
<BR> charge so jolting, that there is nothing in our world to
<BR> compare to it. It\'s as though this magnificent golden
<BR> box has been gathering electric energy for three thousand
<BR> years, waiting for just this crack of the lid to release
<BR> it all in one fast, cleansing explosion of pure force.
<BR>
<BR> Blinding arcs of light shoot out across the Tabernacle
<BR> instantly killing all the Nazis inside and turning the
<BR> white silk to flame. But it is Belloq in his obsession
<BR> who takes the full blast. His whole body seems lit by
<BR> a million volt current and, for a moment, his complete
<BR> form is white, then blue, then maybe green, but it is
<BR> hard to tell because our eyes are blinded now too. Two
<BR> aspects of this ghastly, beautiful display are somehow
<BR> communicated in the chaos, although the communication
<BR> is subliminal. First, that Belloq, in the instant of
<BR> his destruction, has experienced some kind of sublime,
<BR> transcendental knowledge. If a death\'s-head can smile and
<BR> look satisfied, that is how Belloq\'s incandescent face
<BR> would be described. Secondly, this event is accompanied
<BR> by a sound like no other. A sound so intense and so odd
<BR> and so haunting that the suggestible among us might im-
<BR> agine it were the whisper of God.
<BR>
<BR>
<BR>146 INT. COMMAND CENTER 146
<BR>
<BR> Chaos. Shliemann and the Tall Captain have been tempo-
<BR> rarily blinded by the light from the Tabernacle. Indy
<BR> makes short work of his two escorts. He bashes their
<BR> heads together. When only one goes down at this, Indy
<BR> uses the handle of his bullwhip, which has appeared in-
<BR> stantly in his hand, to put the second one down.
<BR>
<BR> Shliemann, hand on his eyes, aims his Luger blindly at
<BR> the scuffle. Indy pushes the Tall Captain at Shliemann,
<BR> who fires on impact, killing the Tall Captain. Indy knocks
<BR> out Shliemann.
<BR>
<BR> Behind Indy, the brilliant light and weird noise of the
<BR> Ark have suddenly ceased, but the Tabernacle is ablaze
<BR> and the fire has quickly spread to stacks of supplies on
<BR> either side. Smoke is already starting to fill the cavern.
<BR> Nazis are running around, yelling for firefighting water.
<BR> A burning crate at the side of the Tabernacle is pushed
<BR> over, only to knock over a drum of heavy black oil. A
<BR> river of flame shoots across the cement.
<BR>
<BR> Indy grabs a rifle with bayonet from the prostrate body
<BR> of one of his former escorts and runs back into the flaming
<BR> Tabernacle.
<BR>
<BR>
<BR>147 INT. THE TABERNACLE 147
<BR>
<BR> Indy jumps through the flames into what is now a tent of
<BR> fire. He looks around at the dead bodies, then at the Ark.
<BR> The lid has slammed down shut again and the Ark shines gold
<BR> in the flames. Before it, where Belloq once stood, is a
<BR> pile of ash and charred debris. Indy registers this, then
<BR> continues to scan the scene.
<BR>
<BR> INDY
<BR> Marion! Marion, can you hear me?
<BR>
<BR> Suddenly, Indy looks as--
<BR>
<BR> The far side of the Tabernacle burns completely away, re-
<BR> vealing Marion, tied spread-eagle between two upright posts.
<BR> Her nightgown is now in tatters, black with soot. She is
<BR> gagged, but her eyes are screaming, focused on the flaming
<BR> river of black oil which is about to engulf her feet.
<BR>
<BR> Indy rushes toward her, unaware of a uniformed Nazi who
<BR> has appeared from the flames. Marion looks up to see
<BR> Indy and the Nazi leveling his submachine gun at Indy.
<BR> She motions desperately with her eyes. Indy dives and
<BR> rolls through the flames just as the Nazi opens fire.
<BR> From the floor, Indy blasts the Nazi.
<BR>
<BR> The river of burning oil is only a foot from Marion.
<BR>
<BR> Indy jumps up and runs toward the bound Marion, his bayo-
<BR> net aimed directly at her. Her wide eyes flash between
<BR> the flames and the shining blade. Expertly, Indy slashes
<BR> down both sides at Marion, cutting all four bindings. Mar-
<BR> ion falls backwards, away from the flames, but before she
<BR> hits the ground, Indy is there, catching her in his arms.
<BR> They embrace. They kiss. They break.
<BR>
<BR> INDY
<BR> Hi.
<BR>
<BR> MARION
<BR> Oh, Indy! Thank god you\'re here.
<BR>
<BR> INDY
<BR> Glad I could make it.
<BR>
<BR> Indy rises, pulling her up with him. The Tabernacle is
<BR> burning away so fast that soon Indy and Marion will be
<BR> completely exposed. Indy rushes over and grabs the sub-
<BR> machine gun and a Luger from the dead Nazi.
<BR>
<BR> INDY
<BR> Let\'s get out of here.
<BR>
<BR> MARION
<BR> What about the Ark?
<BR>
<BR> Indy stops, startled by her spunky attitude. He\'s con-
<BR> sidering their changes.
<BR>
<BR> INDY
<BR> Are you game?
<BR>
<BR> MARION
<BR> Hell yes! We\'ve made it this far.
<BR>
<BR> INDY
<BR> (grins at her)
<BR> Okay. Let\'s do it.
<BR>
<BR> They approach the altar through the dying flames, Indy
<BR> slinging the submachine gun over his back. The long
<BR> carrying poles are still in place.
<BR>
<BR> INDY
<BR> Whatever you do, don\'t touch it.
<BR> Let\'s put it on the floor.
<BR>
<BR> Marion nods. Each taking an end with the poles, they lift
<BR> the Ark from the altar and lower it to the floor. Marion
<BR> grunts under the weight. Indy registers this, hands her
<BR> the submachine gun. He pulls out his whip, motions her
<BR> back, and sweeps the whip tightly around the body of the
<BR> Ark. The fall wraps snugly around the plaiting and Indy
<BR> ties it off. The Ark is now harnessed to the whip handle.
<BR> Indy gives it an experimental pull and the Ark slides across
<BR> the smooth cement. Indy indicates the direction of the
<BR> second train tunnel.
<BR>
<BR> INDY
<BR> We\'ll go down that side. Shoot any-
<BR> one who looks at us crosseyed.
<BR>
<BR>
<BR>148 INT. COMMAND CENTER 148
<BR>
<BR> Two huge stacks of goods are ablaze and the Nazis are having
<BR> trouble getting water to them. The Nazis main concern at
<BR> this point is an enormous, neat stack of wooden cartridge
<BR> boxes which are piled down the wall from one of the already
<BR> blazing, and now teetering, stacks of general goods. Ner-
<BR> vous Nazis are moving the heavy cartridge boxes as fast as
<BR> they can, but it\'s slow work and the threatening fire is
<BR> close.
<BR>
<BR> Indy and Marion make their way along the side of the center
<BR> court, Indy grimacing with the strain of pulling the Ark.
<BR> One Nazi stops directly in front of them, looking at them
<BR> queerly. Indy knocks him out with the butt of his Luger
<BR> just as Marion is about to fire.
<BR>
<BR> Out in the court, Shliemann has regained his eyesight. Now
<BR> he crouches, scanning the scene desperately for Indy. He
<BR> looks into the remains of the Tabernacle and spots the empty
<BR> altar. Beyond it, the unoccupied posts where Marion was
<BR> bound.
<BR>
<BR> At the entrance to the second train tunnel, Indy and Marion
<BR> struggle to lift the Ark into a mine car. Marion has the
<BR> submachine gun slung over her back. The Ark drops heavily
<BR> into the bottom of the car. The noise attracts the attention
<BR> of five water-carrying Nazis. They see what\'s going on and
<BR> reach for their side-arms. Indy grabs Marion, pulls her in
<BR> front of him--as though to use her as a shield--and flips
<BR> the submachine gun, still on her back, toward the Nazis.
<BR> He opens fire, turning Marion\'s body so he can mow all
<BR> five down.
<BR>
<BR> Shliemann spins around and looks at the tunnel entrance.
<BR> He points at Indy and Marion, who have just hopped into the
<BR> mine car with the Ark.
<BR>
<BR> SHLIEMANN
<BR> Stop them! Kill them!
<BR>
<BR> A dozen Nazis spin and look at the mine car. Marion is just
<BR> leveling the submachine gun. Indy pushes forward the throttle
<BR> and the mine car moves toward the tunnel, picking up speed.
<BR> As the Nazis raise their guns to fire, Marion and Indy both
<BR> open up, peppering the area with lead. As the mine car is
<BR> about to disappear into the tunnel--
<BR>
<BR> INDY
<BR> (to Marion)
<BR> Get down!
<BR>
<BR> As the car disappears, bullets pock the entrance of the
<BR> tunnel. Shliemann runs up with three Nazis. They jump
<BR> into the next mine car and take off, disappearing into
<BR> the tunnel.
<BR>
<BR> Over at the burning stack of goods, some terrified fire-
<BR> fighters scurry away as the burning pile of general goods
<BR> falls over onto the stack of cartridge boxes. The wooden
<BR> boxes immediately start burning. Many of the Nazis just
<BR> want to get out of there, but a couple of disciplined OF-
<BR> FICERS are trying to salvage the situation. They point to
<BR> the far side of the court, the walls are lined with oil
<BR> and gas drums.
<BR>
<BR> OFFICER
<BR> We must cover the drums! Protect
<BR> them from the bullets!
<BR>
<BR>
<BR>149 INTERCUTTING Indy and Marion with Shliemann and the Nazis,
<BR> we see a most extraordinary pursuit. This tunnel is of
<BR> identical design to the first, except more twisty. This
<BR> early section goes slightly uphill, as though headed for
<BR> the summit of a rollercoaster. The low cross beams and
<BR> the higher sections in between are causing the Nazis to
<BR> alternately stand and duck in their efforts to get a
<BR> clear shot at the lead car. One German times it wrong and
<BR> gets whacked. Indy is unhappy with the speed of his car
<BR> and he\'s right, the Nazis are moving faster and gaining.
<BR> When both cars are in the same high section, the Nazis blast
<BR> away at them. The noise is deafening, with barking guns,
<BR> splintering rock, and twanging ricochets contributing to
<BR> the din. As Marion fires a return volley low over the Ark,
<BR> Indy kicks at the throttle, convinced it is jammed.
<BR>
<BR>
<BR>150 INT. COMMAND CENTER 150
<BR>
<BR> The Officers are directing the placement of every move-
<BR> able item in front of the oil drums. Desks, crates, chairs,
<BR> food, all are heaped in front of the fuel. All the workers
<BR> cast frequent nervous glances back at the burning cartridge
<BR> boxes across the court. Suddenly the worst begins to hap-
<BR> pen at the cartridge boxes. Hundreds of thousands of live
<BR> cartridges begin exploding, flying around the court like
<BR> shrapnel. Hot lead begins to zing off the exposed fuel
<BR> drums, leaving big dents.
<BR>
<BR>
<BR>151 INT. TRAIN TUNNEL - LONG STRAIGHTAWAY 151
<BR>
<BR> The car with Indy and Marion looks almost sluggish com-
<BR> pared to the pursuing Nazi car as they both make their way
<BR> into an unusually long straightaway. Marion discards her
<BR> empty submachine gun as Indy kicks at his throttle and casts
<BR> a worried look back at Shliemann.
<BR>
<BR> Shliemann, sensing victory, smiles evilly and carefully
<BR> takes aim. Indy and Marion will be easy targets until they
<BR> reach that approaching low cross beam, which is the crest
<BR> of the rising tunnel.
<BR>
<BR>
<BR>152 INT. COMMAND CENTER - CLOSE ON FUEL DRUM 152
<BR>
<BR> A fuel drum, already pocked by bullets is finally pene-
<BR> trated by high velocity hot lead. It explodes in a ball
<BR> of flame. And then its neighbor. Then all is exploding
<BR> flame.
<BR>
<BR>
<BR>153 INT. TRAIN TUNNEL - LONG STRAIGHTAWAY 153
<BR>
<BR> Shliemann and his cohorts hear the explosions behind them
<BR> and look back that way.
<BR>
<BR> Indy kicks the throttle one more time and it goes! Their
<BR> car doubles its speed and shoots under the low cross beam
<BR> at the same instant as--
<BR>
<BR> A huge dragon of all-consuming fire shoots up the tunnel
<BR> behind the Nazis, catches their car and incinerates
<BR> Shliemann and his men. The tunnel collapses in this section,
<BR> burying the fried Nazis forever.
<BR>
<BR>
<BR>154 INT. TRAIN TUNNEL 154
<BR>
<BR> Indy and Marion look back at the low cross beam as the last
<BR> tongue of flame makes it there and then is doused by falling
<BR> rock and dirt. They look at each other, then turn their
<BR> attention back to their own predicament. Their mine car is
<BR> going incredibly fast as it moves into a downward section
<BR> of wildly twisting tunnel.
<BR>
<BR> MARION
<BR> Slow it down!
<BR>
<BR> Indy is already pulling the throttle. It moves easily.
<BR> Unfortunately, it is no longer attached to the motor. The
<BR> mine car is out of control. After several moments, far
<BR> ahead, appears a circle of bright daylight-- the end of the
<BR> tunnel! It approaches at a frightening rate. Indy reaches
<BR> out and grasps Marion\'s hand. They exchange looks and then
<BR> turn to look ahead.
<BR>
<BR> THEIR POV. We\'re taking this last stretch with them. It\'s
<BR> a familiar nightmare. It has to do with a rollercoaster
<BR> that ends suddenly and disastrously. The shocking bright-
<BR> ness of sunlight rushes up to engulf us, blinding us in
<BR> its glare.
<BR>
<BR>
<BR>155 EXT. THE ISLAND - END OF TRACKS, DOCK 155
<BR>
<BR> High up on the slope of the island, Indy and Marion\'s mine
<BR> car shoots out of the black tunnel and roars down toward
<BR> a little dock at the end of the tracks.
<BR>
<BR> A small Nazi transport launch, carefully disguised as a
<BR> Greek fishing boat, sits bobbing by the dock. The only
<BR> human: a Nazi Sentry dressed as a Greek peasant. He is
<BR> perched on a pile of seed bags which are stacked at the
<BR> very end of the train tracks. As the mine car barrels
<BR> noisily down toward him, he throws away some burlap to
<BR> reveal a mounted machine gun which he spins quickly around
<BR> toward the approaching mine car. He opens fire.
<BR>
<BR> In the out-of-control mine car, Indy pulls Marion down with
<BR> him. They are squashed into the corner trying to avoid con-
<BR> tact with the bouncing Ark. Bullets clang against the out-
<BR> side of the car and whiz inches overhead. Indy and Marion
<BR> are forced into a tighter and tighter embrace of life.
<BR>
<BR> At the machine gun post, the Nazi Sentry has been firing
<BR> like crazy, but now there is terror in his eyes. He
<BR> realizes the car is not going to stop. He lacks faith in
<BR> his stronghold. Too late.
<BR>
<BR> The mine car smashes into the seed bag bunker. And right
<BR> on through. The Nazi Sentry, his machine gun and a dozen
<BR> bursting seed bags are slammed into the ocean in a wild,
<BR> hurtling mass. The mine car jumps, bounces and spins around,
<BR> then slides to a stop in a cloud of seed at the edge of the
<BR> water.
<BR>
<BR>
<BR>156 INT. COMMAND CENTER 156
<BR>
<BR> Fire. Everywhere. No sign of life. A large gaping door-
<BR> way, flames ringing it, blazing into the room beyond. Hang-
<BR> ing by one hinge there, its metal blasted and jagged, is a
<BR> heavy door with the signed lettering, in German, DANGER -
<BR> MUNITIONS.
<BR>
<BR> The first explosion happens. It\'s a baby compared to what\'s
<BR> coming yet it rocks the earth. It\'s terrible. And then,
<BR> almost immediately, another. The long, irregular, ever-
<BR> larger chain of explosions begins.
<BR>
<BR>
<BR>157 EXT. THE ISLAND - VARIOUS SHOTS - DAY 157
<BR>
<BR> The island rumbles and shakes. From fissures and small
<BR> natural caves, dirt and rock shoot out like spraying water.
<BR> Still the explosions continue. A huge chunk of white cliff
<BR> falls away into the turbulent sea. Birds scream and soar,
<BR> afraid to land.
<BR>
<BR> Finally, we settle on a full shot of the island. We can
<BR> recognize that the small opening high on the slope from
<BR> which a cloud of smoke and dust is billowing is the end
<BR> of the mine tunnel. And there below it, quite small from
<BR> this distance is the dock. And the boat that looks like
<BR> a Greek fishing boat. There can be no mistake even from
<BR> this far away--the boat is chugging out to sea.
<BR>
<BR>
<BR>158 INT. THE PENTAGON - DAY 158
<BR>
<BR> Indy, Brody, and Marion, looking very stylish, are seated
<BR> in Colonel Musgrove\'s huge office. Sun pours in a window,
<BR> through which Washington can be seen sparkling across the
<BR> Potomac. Everything is neat and clean and regular. In-
<BR> cluding the three men who are arrayed around the office.
<BR> Two we know--Col. Musgrove and Maj. Eaton. The third is
<BR> an unnamed Bureaucrat. He hangs back, smiling and genial,
<BR> his features obscured by the glare of the window. He doesn\'t
<BR> say anything, yet you have a sense that the others defer to
<BR> him in the matter at hand. He is the essence of all that
<BR> is Byzantine and inscrutable in our scrubbed government
<BR> machine.
<BR>
<BR> Indy and Brody are dissatisfied with the way the meeting
<BR> has gone. Marion, on the other hand, is very happy and
<BR> eager to get out of there. Eaton\'s manner is irritatingly
<BR> cheery.
<BR>
<BR> MUSGROVE
<BR> You\'ve done your country a great
<BR> service.
<BR>
<BR> EATON
<BR> --And we trust you found the settle-
<BR> ment satisfactory?
<BR>
<BR> MARION
<BR> Quite.
<BR>
<BR> EATON
<BR> Good, good.
<BR> (glances around at the others)
<BR> Then I guess that about does it.
<BR>
<BR> BRODY
<BR> When can we have the Ark?
<BR>
<BR> Eaton\'s glance flicks over to the mysterious Bureaucrat,
<BR> then back to Brody.
<BR>
<BR> EATON
<BR> I thought we answered that. It\'s
<BR> someplace very safe--
<BR>
<BR> INDY
<BR> (heated)
<BR> That\'s a powerful force. Research
<BR> should be done--
<BR>
<BR> EATON
<BR> Oh, it will be, Dr. Jones, I assure
<BR> you. We have top men working on it
<BR> right now.
<BR>
<BR> INDY
<BR> Who?
<BR>
<BR> EATON
<BR> Top men.
<BR>
<BR> Indy exchanges a look with Brody.
<BR>
<BR> INDY
<BR> We may be able to help.
<BR>
<BR> EATON
<BR> We appreciate that. And we won\'t
<BR> hesitate to call on you.
<BR>
<BR> MUSGROVE
<BR> (dismissing them)
<BR> Thank you all. Thank you again.
<BR>
<BR> Indy looks them over coldly. He gets up, sullen.
<BR>
<BR>
<BR>159 EXT. PENTAGON STEPS - DAY 159
<BR>
<BR> Indy, Brody and Marion emerge from the building. Brody
<BR> bids them farewell and moves off in another direction.
<BR> Marion clings to Indy\'s arm in an energetic, very feminine
<BR> way, scolding him.
<BR>
<BR> MARION
<BR> --Well they aren\'t going to tell
<BR> you, so why don\'t you just forget
<BR> it. I\'d think you\'d had enough
<BR> of that damn Ark. Just put your
<BR> mind on something else.
<BR>
<BR> Indy stops, looking across the river, his mind occupied.
<BR>
<BR> INDY
<BR> Yeah, like what?
<BR>
<BR> Marion makes a face, then puts her arms around his neck
<BR> and plants a humdinger of a kiss on his mouth. It goes
<BR> on a while. Finally they break.
<BR>
<BR> INDY
<BR> It\'s not the Ark...but it\'ll have
<BR> to do.
<BR>
<BR> They move down the steps, smiling.
<BR>
<BR>
<BR>160 INT. GOVERNMENT WAREHOUSE 160
<BR>
<BR> The Ark of the Covenant sits in a wooden crate. A wooden
<BR> lid comes down and hides it from view. The lid is solidly
<BR> nailed to the crate as we read the stenciled message on top--
<BR>
<BR> TOP SECRET
<BR> ARMY INTEL. #9906753
<BR> DO NOT OPEN!
<BR>
<BR> The hammering is completed and hands shift the heavy crate
<BR> onto a dolly.
<BR>
<BR> THE END CREDITS ROLL AS WE SEE--
<BR>
<BR> A Little Old Government Warehouseman begins pushing the
<BR> crated Ark down an aisle. Soon we see that the aisle is
<BR> formed by huge stacks of crates. They come in many shapes
<BR> and sizes, but when it comes right down to it, they all
<BR> look like the one that holds the Ark. All have markings
<BR> like the message we\'ve just seen. Pretty soon we\'re far
<BR> enough and high enough away from the Little Old Government
<BR> Warehouseman to see that this is one of the biggest rooms
<BR> in the world. And it is full. Crates and crates. All
<BR> looking alike. All gathering dust.
<BR>
<BR> And then we notice that the Little Old Government Ware-
<BR> houseman, pushing his new crate ahead of him, has turned
<BR> into another aisle and disappeared from view.
<BR>
<BR> FADE OUT.
<BR>
<BR>
<BR> THE END.
<BR>
<BR>
<BR>
CCG

pennywis3
Messaggi: 148
Iscritto il: 01 gen 1970, 01:00
Località: Le fogne

Messaggio da pennywis3 » 01 gen 1970, 01:33

Ma se io fossi uno che ti entra in casa, si siede sul divano ed inizia a rompere gli zebedei, tu saresti contento? E BAAAAAASTA!
<BR>
<BR>
ok, è vero, mangio i bambini, ma d\'altronde sono più teneri.... e poi voi per pasqua non mangiate tutti quei poveri agnellini?

Fede_HistPop
Messaggi: 576
Iscritto il: 01 gen 1970, 01:00
Località: Tuenno, TN
Contatta:

Messaggio da Fede_HistPop » 01 gen 1970, 01:33

Please, post <!-- BBCode Start --><B>ONLY</B><!-- BBCode End --> the link. <!-- BBCode Start --><B>NO MORE!!!</B><!-- BBCode End -->
<BR>
<BR>It\'s not a nice thing, the one you\'re doing. So please, STOP POSTING THIS THINGS!! I\'m wondering if after you\'ve posted the third (that I\'m sure you\'re going to post) you\'re going to post Star Wars\'. Please DO NOT.
<BR>
<BR>Best wishes.
Co-founder and leader of Historiae Populorum.
0 A.D. Historian, Game Designer and Scenario Designer; maker of 0 A.D.'s Learning Campaign

DD
Messaggi: 644
Iscritto il: 01 gen 1970, 01:00
Località: Pisa, talvolta Torino

Messaggio da DD » 01 gen 1970, 01:33

che poi c\'è anche lo spiacevole inconveniente delle risposte in inglese da italiano in vacanza
[img:2sazto6b]http://digilander.iol.it/daniel349/boy_math_md_wht.gif[/img:2sazto6b]

Fede_HistPop
Messaggi: 576
Iscritto il: 01 gen 1970, 01:00
Località: Tuenno, TN
Contatta:

Messaggio da Fede_HistPop » 01 gen 1970, 01:33

Più che da italiano in vacanza, da studente italiano che si allena per il First Certificate English. Ora non ho più bisogno di allenarmi, così, se ti da fastidio l\'inglese, lo evito.
Co-founder and leader of Historiae Populorum.
0 A.D. Historian, Game Designer and Scenario Designer; maker of 0 A.D.'s Learning Campaign

Squirtledgl
Messaggi: 89
Iscritto il: 01 gen 1970, 01:00
Località: Edolo (BS)

Messaggio da Squirtledgl » 01 gen 1970, 01:33

Duce! Cosa usi per ridurti così???
<BR>Magari lo provo anch\'io!
Maxipony

acarus
Messaggi: 106
Iscritto il: 01 gen 1970, 01:00
Località: Molto lontano ...

Messaggio da acarus » 01 gen 1970, 01:33

<!-- BBCode Quote Start --><TABLE BORDER=0 ALIGN=CENTER WIDTH=85%><TR><TD><font size=-1>Quote:</font><HR></TD></TR><TR><TD><FONT SIZE=-1><BLOCKQUOTE>
<BR>On 2003-03-16 18:24, Squirtledgl wrote:
<BR>Duce! Cosa usi per ridurti così???
<BR>Magari lo provo anch\'io!
<BR></BLOCKQUOTE></FONT></TD></TR><TR><TD><HR></TD></TR></TABLE><!-- BBCode Quote End -->
<BR>
<BR>Bellissima...
Che cos'è il genio....? E' colpo d'occhio, intuizione e velocità d'esecuzione!

Avatar utente
info
Messaggi: 903
Iscritto il: 01 gen 1970, 01:00

Messaggio da info » 01 gen 1970, 01:33

Anche lei il first?. Mi complimento,...Porca *******: ho il test a giugno (lontano, direte voi) e sono completamente a zero...........
<BR>Scusate il piccolo sfogo personale.........

Fede_HistPop
Messaggi: 576
Iscritto il: 01 gen 1970, 01:00
Località: Tuenno, TN
Contatta:

Messaggio da Fede_HistPop » 01 gen 1970, 01:33

Lei??? Anche <!-- BBCode Start --><B>Voi</B><!-- BBCode End --> fate il First?
<BR>
<BR><!-- BBCode Start --><B>Io</B><!-- BBCode End --> l\'ho fatto sabato. O meglio sabato 8 l\'orale, sabato 15 (ieri) gli scritti. Non è poi così difficile! (Anche se a dire la verità io volevo quasi fare il C1, cioè quello + difficile...)
<BR>
<BR>A proposito, lo stanno facendo ora in tv...<BR><BR>[ Questo Messaggio è stato Modificato da: Fede_HistPop il 16-03-2003 22:31 ]
Co-founder and leader of Historiae Populorum.
0 A.D. Historian, Game Designer and Scenario Designer; maker of 0 A.D.'s Learning Campaign

Ospite

Messaggio da Ospite » 01 gen 1970, 01:33

cosa in tv????
<BR>il c1???

Fede_HistPop
Messaggi: 576
Iscritto il: 01 gen 1970, 01:00
Località: Tuenno, TN
Contatta:

Messaggio da Fede_HistPop » 01 gen 1970, 01:33

No, \"I predatori dell\'arca perduta\" (Rete 4)
Co-founder and leader of Historiae Populorum.
0 A.D. Historian, Game Designer and Scenario Designer; maker of 0 A.D.'s Learning Campaign

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massiminozippy
Messaggi: 736
Iscritto il: 01 gen 1970, 01:00

Messaggio da massiminozippy » 01 gen 1970, 01:33

Ma secondo voi è meglio il TRINITY o il FIRST CERTIFICATE????

Bloccato