Inviato: 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
<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